19 


LISTENING    LESSONS 
IN    MUSIC 

Graded  for    Schools 


BY 

AGNES    MOORE   FRYBERGER 

ASSISTANT  SUPERVISOR  OF  PUBLIC  SCHOOL  MUSIC,   MINNEAPOLIS,   MINN. 
WITH    AN    INTRODUCTION    BY 

OSBOURNE    McCONATHY 

DIRECTOR  DEPARTMENT  OF  PUBLIC  SCHOOL  AND  COMMUNITY  MUSIC 

PROFESSOR  OF   METHODS  AND  THEORETICAL  MUSIC 

NORTHWESTERN  UNIVERSITY 


SILVER,   BURDETT   AND   COMPANY 

BOSTON  NEW  YORK  CHICAGO 


COPYRIGHT,  1916, 
BY   SILVER,   BURDETT   AND   COMPANY. 


Mutic  Librtry 


to 


©education 


TO    BOYS    AND    GIRLS    IN    THE    PUBLIC    SCHOOLS 

WHO  HAVE  ENCOURAGED  THESE  LESSONS 

THIS  LITTLE  BOOK  IS  FONDLY 

DEDICATED 


FOREWORD 

THE  subject  of  appreciation  is  the  latest  phase 
of  public  school  music  to  command  attention,  and 
while  a  few  cities  have  given  it  a  definite  place  in 
the  course  of  study,  ideas  concerning  its  application 
to  the  classroom  are  more  or  less  vague. 

Any  kind  of  music  lesson  is  incomplete  if  aesthetic 
consideration  is  omitted.  There  are  many  ways  of 
bringing  the  subject  to  the  class  :  through  suitable 
textbook  material,  through  the  contributing  influ- 
ences of  visiting  artists,  and  through  the  use  of  the 
phonograph  and  player  piano  (the  latter,  however, 
not  as  yet  practicable  in  grades  because  of  its 
expense). 

The  subject  is  easily  presented  by  means  of  the 
phonograph.  The  kind  of  phonograph  is  of  small 
consequence,  providing  it  can  render  a  good  quality 
of  tone  and  is  easily  operated. 

The  essential  requirements  of  the  record  are  that 
it  should  possess  tone  quality  worthy  of  imitation 
and  should  be  fitted  for  educational  purposes. 

The  kinds  of  compositions  to  be  used,  and  the 
psychology  upon  which  such  compositions  are  graded 


vi  FOREWORD 

for  school  lessons,  and  the  method  of  presentation, 
fill  the  purpose  of  this  little  book. 

It  is  the  outgrowth  of  experience  and  contains 
no  theoretical  material. 

Its  inspiration  has  come  from  the  children's  re- 
sponsiveness to  the  subject. 

It  is  published  with  the  hope  of  being  helpful  to 
the  busy  teacher. 

Acknowledgment  is  made  to  many  critics  whose 
writings  on  the  appreciative  side  of  music  have 
furnished  delightful  reading  as  well  as  profitable 
reference.  Gratitude  is  publicly  expressed  to  the 
Parent-Teacher  Association  of  the  Douglas  School, 
through  whose  generosity  was  created  the  circulating 
library  of  educational  records  in  the  Minneapolis 
Public  Schools.  The  material  assistance  of  Pro- 
fessor Osbourne  McConathy  in  the  preparation  of 
this  little  volume  is  gratefully  acknowledged.  His 
advice  and  criticisms,  coming  from  his  sympathetic 
interest  and  broad  experience,  have  been  deeply 

appreciated. 

THE  AUTHOR. 


CONTENTS 


FOREWORD 
INTRODUCTION 


CHAPTER 

ONE. 

Two. 


THREE. 


GENERAL  INSTRUCTIONS  TO  TEACHERS 
SENSORY  PERIOD.    GRADES  ONE,  Two,  AND  THREE 
I.      Practice  in  Concentration 

A.  Simple  songs  which  may  be  learned 

by  rote         .... 

B.  Descriptive  pieces  .          . 

II.      Discrimination     ..... 

A.  Between  character  of  pieces     . 

B.  Between  tonal  qualities  . 

C.  Through  singing  melodies,  independ- 

ent of  words          .          . 

D.  Through     familiarity    with     musical 

literature       .... 

ASSOCIATIVE  PERIOD.    GRADES  FOUR,  FIVE,  AND  Six 
I.      Folk  Songs  and  Folk  Dances  . 
II.      Compositions  with  Definite  Musical  Con- 
tent    ..... 

A.  Marches      ..... 

B.  Lullabies 


PAGE 

V 

xi 


17 
18 

18 
24 
27 
27 
3' 

31 

32 
36 
37 

4* 
43 
47 


Vlil 


CONTENTS 


III.  Pieces  Containing  the  Element  of"  Sugges- 

tion, or  Refined  Description      .        48 

A.  Songs  based  upon  familiar  poems       .        48 

B.  Instrumental  compositions  based  upon 

story  or  title  .          .          .50 

IV.  Medleys  —  for  Quick  Recognition  of  Fa- 

miliar Compositions         .          .        55 
V.      Familiarity    with    Artistic    Compositions, 
Gained  through  Method  of  Sing- 
ing the  Subject  Phrase     .          .        57 
VI.      The  Principle  of  Harmony     ...        62 

VII.     Form 66 

VIII.      Music  History    .....        70 

A.  Five-tone  scale     .          .          .          .71 

B.  Indian  music         .          .          .          •        73 

C.  Negro  music         .          .          .          -75 
IX.      Singing  Habit  Established       .          .          .78 

A.  Through     persistent     singing     with 

phonograph  records          .          .        78 

B.  Through  thoughtful  consideration  of 

sustained  tones  : 

1.  As  the  leading  factor  in  beauti- 

ful singing     ....        79 

2.  As  bringing  physical   and  moral 

benefit  to  the  singer         .          .        81 
FOUR.        ADOLESCENT    PERIOD.      GRADES    SEVEN,    EIGHT, 

AND  HIGH  SCHOOL  .          .          .          .          '83 

I.      Vocal  Music 85 

A.     Songs          .....       85 

1.  Folk 85 

2.  Popular          .         «         .         •       90 


CONTENTS  ix 


3.    Ballad  . 

PACK 

4.   Aria 

98 

5.    Lied 

.       99 

6.    Chanson         . 

.         .         .100 

7.    Art  song 

.             .             .100 

Opera 

.'-....             •        H2 

I.    As  a  form       ." 

.        112 

2.    Selections       . 

.        114 

Oratorio 

.117 

I.    As  a  form 

.        117 

2.    Selections 

.        119 

B. 


C. 


II.     Instrumental  Music       .          .          .          .120 

A.  Absolute  —  related   to   classic  period 

and  dependent  upon  prescribed 
form    .          .          .          .          .122 

B.  Program  —  related    to   romantic    pe- 

riod   and    emphasizing    content 

and  free  form         .          .          .      1 24 

III.  National  Music ;  as  Related  to  Geography 

and  History  .          .          .137 

A.  Folk  music.         .         .         .         .      137 

B.  Art  music  .         .         .         .         .138 

IV.  The  Orchestra 163 

A.  Constituents          .          .          .          .163 

B.  Literature    .          .          .          .          .166 

1.  Symphonies    .          .          ,  .166 

2.  Overtures        .          .          .  .172 

3.  Suites    .          .          .          .  .179 

4.  Tone  pictures  and  tone  poems  .      184 


X  CONTENTS 

CHAPTER  PAGE 

V.     Musical  Criticism  :  The  Result  of  Intelli- 
gent Listening        .          .          .188 

A.  Related  to  a  profession  .          .          .188 

B.  A  subject  for  language  lessons .          .      1 88 

FIVE.         CONCLUDING  SUGGESTIONS  TO  THE  TEACHER         .  200 

I.      The  Listening  Habit     ....  200 

II.      Emphatic  Reiterations  ....  206 

III.  Two  Essentials  to  Success      .          .          .  209 

A.  Knowledge  of  subject     .          .          .      209 

B.  Enthusiasm  .          .          .          .      zil 

IV.  Concerning  Records     .          .          .          .212 

A.  Basis  of  selection  .          .          .          .213 

B.  System  of  recording  lessons      .          .214 

C.  Varied  deductions  from  single  records     215 

APPENDIX 

I.     Texts  of  Songs      .          .          .          .          .          .219 

II.      Commentary  on  Records          .          .          .          .      233 

III.     Index  of  Records  .....      245 


INTRODUCTION 

WITHIN  the  last  few  years  music  study  in  the 
public  schools  has  acquired  a  deeper  significance. 
After  many  years  of  development  along  ratner  re- 
stricted lines,  there  is  now  a  well-defined  movement 
towards  liberalizing  and  broadening  the  study  so 
that  it  may  more  fully  attain  its  real  purpose,  which 
is  to  make  of  our  nation  a  music-loving  people. 
The  desirability  of  accomplishing  this  purpose  is 
too  fully  recognized  to  require  arguments  in  favor 
of  general  musical  training.  Leading  educators  and 
sociologists  are  agreed  upon  the  important  place 
that  music  must  take  in  the  well-rounded  education 
of  the  individual  and  of  the  people.  Our  present 
concern  is  with  the  best  means  and  methods  for 
bringing  about  the  desired  end. 

Until  recently  public  school  music  has  been  con- 
fined chiefly  to  the  study  of  vocal  sight  reading  and 
to  the  singing  of  songs  and  choruses.  Excellent  re- 
sults have  been  accomplished  in  these  two  branches 
of  musical  instruction,  and  unquestionably  the  won- 
derful progress  made  throughout  our  country  in 


xii  INTRODUCTION 

matters  musical  may  be  traced  largely  to  the  influ- 
ence of  public  school  music.  Musical  education  of 
this  kind  —  including  the  care  of  children's  voices 
—  must  continue  to  be  fundamental.  Nevertheless, 
educators  find  that  a  certain  kind  of  related,  supple- 
mentary study  adds  greatly  to  the  effectiveness  of 
the  course  in  music.  The  mere  ability  to  read  music 
no  more  insures  a  real  love  of  good  music  than  the 
ability  to  read  our  language  insures  a  love  of  Eng- 
lish literature.  From  the  beginning  the  child  must 
realize  that  music  is  one  of  the  choicest  means  for 
expressing  his  highest  and  dearest  sentiments  and 
emotions. 

The  cultivation  of  this  finer  sensitiveness  to  music 
is  by  no  means  a  simple  matter.  It  involves  more 
than  the  love  of  beautiful  sounds,  more  than  the 
emotional  response  to  tonal  combinations.  Music 
is  tonal  discourse,  and  to  follow  its  purport  involves 
intellectual  processes  as  well  as  an  emotional  response. 
Music  has  definite  form  and  proportion,  and  displays 
national  tendencies,  historical  perspective,  character- 
istics of  individual  composers,  and  other  elements 
which  the  trained  ear  can  perceive.  These,  when 
understood,  increase  immeasurably  the  capacity  for 
enjoyment. 

The  recent  trend  of  public  school  music  is  toward 
a  fuller  training  in  the  appreciation  of  these  varied 
phases  of  the  subject.  Effective  instruction  in  this 


INTRODUCTION  xiii 

broader  field  requires  a  more  extended  study  than 
is  practicable  through  the  usual  school  music  text- 
books. The  invention  of  mechanical  musical 
instruments  has,  however,  met  this  need,  and 
coincident  with  their  coming  a  line  of  instruction 
has  developed  known  as  "  music  appreciation." 
This  term  implies  a  thoughtful  listening  to  music 
while  attention  is  directed  to  the  essential  charac- 
teristics of  each  composition.  It  is  here  that  Mrs. 
Fryberger's  pioneer  volume  finds  its  place.  The 
power  of  discriminating  listening  is  of  supreme  im- 
portance in  the  accomplishment  of  our  larger  idea 
of  developing  a  musical  nation,  since  no  concert  can 
rise  in  excellence  above  the  capacity  of  its  audience. 
Of  the  greatest  importance  is  the  realization  that 
the  listening  lesson  is  not  a  thing  apart  and  separate 
from  the  daily  singing  lesson.  Every  song  that  the 
children  study  should  have  in  it  the  inherent  fea- 
tures of  the  listening  lessons,  and  complete  study  of 
the  song  should  involve  consideration  of  the  tech- 
nical, aesthetic,  and  interpretative  points  developed 
in  this  volume.  Skillful  coordination  of  these  sev- 
eral lines  of  music  study  must  be  emphasized  and 
applied  through  systematic  instruction  from  the 
earliest  years,  if  our  schools  are  to  produce  broad- 
minded  and  intelligent  lovers  of  music. 

OSBOURNE   McCONATHY. 


LISTENING  LESSONS  IN 
MUSIC 

CHAPTER  ONE 

GENERAL  INSTRUCTIONS   TO   TEACHERS 

A  phonograph  and  music  records  are  a 
necessary  equipment  of  every  public  school 
building.  Their  primary  use  should  be  edu- 
cational. The  time  for  presenting  music  by 
this  method  should  be  spoken  of  as  a  "listen- 
ing lesson"  rather  than  as  a  concert  or  an  enter- 
tainment. 

All  subjects  presented  in  public  schools  must 
have  definite  outlines  and  conform  to  certain 
educational  principles.  Method  is  as  essential 
in  teaching  the  esthetic  as  the  mechanical  side 
of  an  art.  Fortunately,  we  have  learned  that 
we  may  appreciate  the  beautiful  in  picture, 
poem,  or  music,  without  knowledge  of  the 
technique  by  which  the  work  of  art  has  been 
produced.  The  term  "musical"  is  no  longer 
confined  merely  to  those  who  can  "play"  or 


2  LISTENING  LESSONS  IN  MUSIC 

"sing,"  but  includes  others  who,  through  habits 
of  listening,  have  become  lovers  and  intelligent 
critics  of  music. 

There  are  countless  ways  of  arranging  ideas 
for  the  listening  lesson.  The  subject  is  so  elastic 
that  outlines  need  not  be  followed  arbitrarily. 
The  character  of  teacher,  children,  and  the 
environment  will  suggest  subjects  not  in  this 
book.  There  must  be  a  certain  definiteness, 
however,  in  any  general  scheme.  With  the 
realization  that  acquisition  of  musical  taste  is 
an  educational  process,  lessons  should  begin 
with  the  first  year  of  school  life  and  should  be 
graded  as  carefully  as  lessons  for  the  acquisition 
of  knowledge.  In  the  listening  lesson,  the 
teacher  should  avail  herself  of  every  means  at 
her  disposal.  Lessons  suggested  in  these  pages 
call  for  use  of  blackboard,  phonograph,  and 
occasionally  piano. 

In  order  to  preserve  the  lesson  idea,  the  class- 
room is  preferable  to  the  auditorium. 

In  the  selection  of  phonograph  material  two 
points  should  be  considered :  (a)  every  record 
should  contain  something  which  the  child  will 
comprehend  without  an  explanation  from  the 
teacher,  and  (&)  every  record  must  have  musical 
merit.  This  basis  of  selection  is  obvious.  Like 
people,  books,  and  everything  else,  music  must 


GENERAL  INSTRUCTIONS  TO  TEACHERS  3 

be  interesting,  to  hold  attention;  and  further- 
more it  must  be  wholesome,  to  win  respect 
and  bring  the  realization  that  its  influence  is 
desirable. 

Concentration  and  discrimination  are  the  real 
objects  of  the  listening  lessons,  and  when  the 
first  is  secured  the  second  will  follow. 

To  induce  concentration,  records  should  have 
a  content  which  makes  a  familiar  and  easy 
appeal  so  that  the  child  listens  willingly.  Nec- 
essarily, the  music  must  correspond  to  his 
interests  and  experiences.  The  ability  to  con- 
centrate may  be  tested  in  every  grade  through 
an  effort  to  get  the  words  of  an  unfamiliar  song. 

To  effect  discrimination,  records  should  be 
chosen  with  reference  to  their  artistic  merit, 
that  the  child  may  acquire  taste. 

While  the  habit  of  listening  is  being  formed, 
records  for  concentration  are  most  frequently 
used,  but  no  lesson  is  complete  without  both 
kinds.  In  the  development  of  child  life  there  are 
three  well-defined  stages.  In  this  book  these 
are  denominated  by  the  accepted  and  easily 
understood  terms  —  Sensory,  Associative,  and 
Adolescent — terms  which  indicate  the  dominant 
physical  and  mental  characteristics  of  child- 
hood, youth,  and  early  maturity.  In  the  Sen- 
sory Period  (grades  one,  two,  and  three)  use 


4  LISTENING  LESSONS  IN  MUSIC 

three  records  for  concentration  to  one  for  dis- 
crimination. In  the  Associative  Period  (grades 
four,  five,  and  six)  use  half  and  half.  In  the 
Adolescent  Period  (grades  seven,  eight,  and 
high  school)  use  three  for  discrimination  to 
one  for  concentration.  It  is  obvious  that  the 
proportionate  number  is  somewhat  arbitrary, 
and  the  suggestion  may  be  followed  only  in 
the  first  few  lessons,  increasing  the  thought  of 
discrimination  as  rapidly  as  possible ;  but  until 
the  listening  habit  is  established,  the  lesson 
should  begin  with  a  record  which  will  com- 
mand close  attention.  Concentration  is  merely 
sustained  observation  and  this  means  self-control. 
No  teacher  has  control  of  her  pupils  until  they 
have  control  of  themselves,  and  no  lesson  can 
be  effectively  presented  until  that  happy  state 
is  attained. 

In  presenting  a  record  each  new  idea  should 
be  clearly  explained  and  illustrated,  although 
in  her  explanations  the  teacher  should  not 
enter  the  realm  of  imagination ;  this  usually 
lies  beyond  the  boundary  of  verbal  expression 
and  makes  an  impression  which  belongs  to  each 
individual.  Likewise,  there  is  music,  purely 
sensuous  ("Traumerei"  or  such  dance  music 
as  "Blue  Danube  Waltzes"),  which  is  pref- 
erably presented  without  comment.  With  such 


GENERAL  INSTRUCTIONS  TO  TEACHERS  5 

music,  however,  the  pupil  should  sing  the 
"subject  phrase"  in  order  to  show  that  he  has 
received  a  definite  impression  of  the  rhythm 
and  tune.  Program  music  should  be  accom- 
panied with  the  composer's  explanation  when- 
ever possible. 

There  should  be  a  definite  place  in  the  music 
course  for  lessons  on  appreciation ;  one  lesson 
each  month  for  high  school  and  two  each 
month  for  grades  is  the  smallest  proportion 
advisable.  In  presenting  the  lesson,  two  rooms 
of  the  same  or  adjacent  grades  may  be  com- 
bined and  the  time  period  doubled.  In  the 
lower  grades  (Sensory  Period)  the  lesson  should 
be  from  twenty  to  thirty  minutes  in  length,  in 
which  time  four  records  may  be  presented  and 
discussed.  In  the  intermediate  grades  the  lesson 
should  occupy  not  less  than  thirty  minutes  and 
in  the  upper  grammar  grades  and  high  school 
not  less  than  forty-five  minutes,  in  order  to 
develop  several  phases  of  a  subject. 

Except  in  the  first  grade,  use  the  blackboard 
continually,  making  the  written  program,  as  the 
lesson  proceeds,  and  writing  thereon  any  new 
word  or  fact  that  the  pupils  should  remember. 
Two  minutes  before  the  close  of  the  lesson, 
erase  the  board  work  and  question  the  children. 
"What  did  you  learn  that  you  did  not  know 


before?"  "And  you?"  "And  you?"  tak- 
ing care  that  the  sleepiest  child  in  the  room  is 
not  overlooked. 

Phonograph  records  should  be  correlated 
whenever  possible  with  other  subjects.  Fol- 
low the  general  course  of  study  in  your  local 
schools,  and  with  subjects  of  reading,  history, 
geography,  and  language,  use  suitable  music. 
In  all  grades,  beginning  with  the  first,  certain 
poems  are  selected  for  memorizing.  Consult 
the  phonograph  record  catalogues,  and  if  such 
poems  are  set  to  good  music,  let  the  children 
hear  the  songs  after  they  have  learned  the 
words.  Before  a  pupil  has  finished  the  eighth 
grade  he  has  learned  many  poems  of  Shake- 
speare, Longfellow,  Tennyson,  and  others,  and 
the  records  reveal  some  of  these  set  to  immortal 
music.  What  a  pity  that  he  should  not  know 
the  musical  interpretation  of  "Hark,  Hark,  the 
Lark!"  "Who  Is  Sylvia?"  "The  Brook," 
"Ring  Out,  Wild  Bells,"  "Crossing  the  Bar," 
"The  Year's  at  the  Spring,"  etc.  And  how 
incomplete  seems  the  geography  course  unless 
the  children  know  the  character  of  the  folk 
songs  and  dances,  the  patriotic  airs  and  national 
hymns,  of  each  country.  It  is  more  important 
to  know  the  height  of  a  nation's  musical  achieve- 
ment than  the  altitude  of  its  mountains ;  better 


GENERAL  INSTRUCTIONS  TO  TEACHERS  ^ 

to  know  the  emotional  depth  of  a  people's  song 
than  the  linear  depth  of  their  lakes. 

In  the  appreciation  of  music  one  has  a  subject 
of  inexhaustible  wealth,  calling  for  scientific 
data  and  artistic  concept.  In  its  teaching 
there  is  need  of  anecdote  and  humorous  inci- 
dent, but  the  relaxation  from  a  serious  atti- 
tude must  be  brief. 

A  teacher  must  have  enthusiasm  for  this  kind 
of  work.  She  should  be  an  inspiration  to  her 
class  ;  a  fount  of  knowledge  and  wisdom.  She 
can  never  lead  students  higher  than  she  her- 
self has  climbed.  She  must  be  a  "walking 
encyclopedia"  —  or,  better  still,  a  Grove's  Dic- 
tionary —  ready  to  be  consulted,  but  modestly 
realizing  that  she  is  not  among  the  "  six  best 
sellers." 

The  aim  of  the  teacher  is  to  create  intelligent 
listeners.  The  first  distinction,  therefore,  is 
made  between  listening  and  hearing,  with  the 
deduction,  that  in  listening,  one  thinks  of  what 
he  hears.  It  is  active  versus  passive  mentality. 

The  educational  value  of  the  lesson  should 
be  emphasized  above  that  of  entertainment, 
and  the  teacher  may  ask,  "What  did  you 
learn?"  but  not,  "Did  you  enjoy  the  concert?" 

The  attitude  of  the  teacher  during  a  listening 
lesson  is  of  great  importance.  Once  I  entered 


8  LISTENING  LESSONS  IN  MUSIC 

a  schoolroom  unexpectedly,  and  the  teacher 
explained  that  she  was  giving  a  concert  with 
the  phonograph.  I  asked  her  to  continue,  and 
tried  to  efface  myself.  She  adjusted  a  record, 
started  the  machine,  then  walked  across  the 
room  to  lower  a  window  shade,  removed  several 
erasers  and  pieces  of  crayon  from  the  black- 
board, then  began  arranging  the  scattered  papers 
on  her  desk.  Not  for  one  moment  had  she  the 
appearance  of  listening  to  music,  —  nor  had 
the  children,  whose  eyes  followed  her  as  she 
moved  about.  There  was  no  concentration 
and  no  respect  for  the  subject.  In  a  few  years 
those  children  would  not  hesitate  to  leave  a 
church  service  during  prayer.  Deciding  to 
rescue  them  from  their  perilous  position  and 
get  something  out  of  the  few  minutes  remain- 
ing, I  arose  and  asked  what  kind  of  piece  we 
had  just  heard.  Was  it  for  home,  or  street, 
or  church  ?  Was  it  a  kind  to  make  them  happy 
or  sad  ?  Did  it  make  them  want  to  march  or 
dance  ?  Did  it  sound  like  a  lullaby  ?  Or  a 
hymn  ?  etc.  Not  one  had  a  definite  idea.  So 
the  piece  was  played  again.  Each  child  knew 
that  he  might  be  questioned  afterwards.  There 
was  concentration.  In  an  instant  the  concert 
had  become  a  lesson. 
There  is  another  kind  of  room  teacher  who 


GENERAL  INSTRUCTIONS  TO  TEACHERS  9 

does  not  create  atmosphere  for  the  subject. 
She  announces  with  a  threatening  tone,  "Now 
we  shall  have  a  concert  on  the  phonograph,  and 
I  don't  want  to  see  one  of  you  whisper  or  look 
around.  If  any  of  you  misbehave,  I'll  keep  you 
after  school  for  a  week!"  It  should  not  be 
necessary  to  tell  a  class  to  listen.  Suitable 
music,  thoughtfully  presented,  will  command 
attention. 

When  the  special  teacher  presents  the  lesson, 
the  regular  teacher  may  sit  at  the  back  of  the 
room  with  her  notebook,  making  observations 
on  the  lesson  and  copying  from  the  board  the 
notes  to  be  used  as  a  subject  for  the  next  lan- 
guage lesson.  The  room  teacher  conducting 
her  own  lesson  should  do  and  say  everything 
necessary  before  starting  the  machine,  and 
then  stand  near  by  in  listening  attitude. 

A  teacher  should  talk  as  little  as  possible  in 
presenting  a  listening  lesson,  merely  offering  a 
suggestion  now  and  then,  unless  some  definite 
principle  is  to  be  made  clear,  remembering 
that  we  do  not  need  to  teach  a  subject  but 
merely  create  a  desire  to  learn  in  the  mind  of 
the  pupil. 

The  children  should  think  out  the  character 
and  content  of  the  music  and  express  their 
ideas  in  suitable  language.  The  habit  of  ex- 


10  LISTENING  LESSONS  IN  MUSIC 

pressing  themselves  about  music  is  most  desir- 
able and  leads  to  intelligent  criticism. 

Frequently  play  a  record  without  any  com- 
ment and  have  the  children  tell  all  they  can 
concerning  it,  the  teacher  writing  the  best 
ideas  on  the  board.  Before  the  second  playing 
of  the  record  the  teacher  may  make  sugges- 
tions which  will  lead  the  class  to  probe  more 
thoroughly  into  the  musical  content.  By  this 
time  their  interest  is  such  that  they  will  retain 
what  the  teacher  may  tell  them.  It  is  a  good 
rule  to  tell  nothing  which  may  be  gained 
through  intensive  listening.  After  the  second 
playing,  the  teacher  may  tell  anything  about 
the  piece  which  she  has  obtained  through 
reading.  She  may  make  the  distinction  clear 
to  the  class  that  there  are  certain  points  in  the 
music  which  they  must  get  through  listening, 
and  there  are  other  things  about  the  music 
which  she  will  tell  them ;  but  that  their  part  is 
most  important. 

The  teacher  may  encourage,  as  far  as  possible, 
the  use  of  technical  terms  as  they  apply  to 
each  music  lesson. 

A  teacher  must  grasp  clearly  the  essential 
points  and  the  artistic  significance  of  a  compo- 
sition, and  then  see  that  the  children  also  get 
definite  impressions.  Let  them  get  them  un- 


GENERAL  INSTRUCTIONS  TO  TEACHERS  II 

aided  if  possible ;  sometimes,  however,  the 
teacher  can  employ  suggestion  or  subtle  ques- 
tions to  force  the  conclusion.  She  may  also 
add  anything  of  romantic  or  historic  interest 
concerning  the  composition.  She  will  not  ask 
the  children  if  they  like  the  music,  but  will 
encourage  comment  which  is  impersonal.  This 
applies  of  course  equally  to  all  music,  whether 
in  daily  singing  lesson,  or  occasional  listening 
lesson. 

The  practice  of  asking  startling  but  relevant 
questions  will  create  interest  and  keep  children 
alert.  Never  for  a  moment  of  the  listening 
lesson  should  they  be  allowed  to  fall  into  that 
dreamy  mental  state  which  prevails  among 
some  of  their  elders  during  a  musical  perform- 
ance. A  lesson  should  move  every  minute. 
There  will  be  time  to  relax  afterwards. 

The  imagination  may  be  stimulated  through 
having  children  compare  the  effect  of  music 
to  other  emotions.  Are  the  sounds  cheerful  or 
sorrowful,  bright  or  gloomy  ?  Does  the  piece 
make  them  think  of  something  terrible  or  beau- 
tiful, or  happy,  or  delicate,  or  tender,  or  peace- 
ful, or  grand  ? 

It  is  a  good  habit  to  write  on  the  board  in 
advance  of  the  listening  lesson  some  crisp 
thought  about  music.  Books  on  appreciation 


12  LISTENING  LESSONS  IN  MUSIC 

(noted  on  page  210)  contain  many  impressive 
sentences  like  the  following : 

"  A  listener  thinks  of  what  he  hears." 

"  One  good  song  is  worth  a  dozen  speeches." 

A  listening  lesson  teaches  "  how  to  make 
sense  out  of  sound." 

"  Music  is  a  language  which  begins  where 
the  spoken  word  ends." 

"  Music  does  not  belong  to  a  profession ;  it 
is  the  birthright  of  every  one." 

"  Music  is  a  necessary  part  of  one's  educa- 
tion." 

1  The  listener  is  as  necessary  as  the  composer 
or  performer." 

"  Good  attention  may  become  a  habit." 

"  Recognition  of  beauty  is  a  matter  of  edu- 
cation and  culture." 

"  We  see  beauty  and  truth  only  in  propor- 
tion to  our  intelligence." 

After  the  fifth  grade  one  sometimes  finds 
boys  with  scorn  and  indifference  written  all 
over  them  at  the  mention  of  music.  It  is  to 
these  that  the  teacher  must  present  the  lesson. 
Their  conversion  to  the  gospel  of  good  music 
is  possible,  and  means  much  to  the  enthusiasm 
of  an  entire  room.  The  following  incident  is 
from  an  experience  in  an  eighth  grade.  Be- 
fore beginning  the  lesson  the  room  teacher 


GENERAL  INSTRUCTIONS  TO  TEACHERS  13 

indicated  a  boy  who  she  said  was  sure  to 
create  disturbance.  I  suggested  that  he  assist 
me,  his  part  being  to  wind  the  machine  and 
change  the  needles.  He  seemed  surprised  at 
the  deference  paid  him,  and  the  class  giggled 
at  the  idea  of  his  prominence.  Beginning  with 
the  subject  of  the  school  song,  Yale  Boola, 
16860  (V),  was  used  for  illustration  and  the 
boy's  interest  was  won.  The  next  record, 
16401  (V),  Sally  in  Our  Alley,  sung  by  the 
Whitney  Brothers  Quartet,  further  marked  the 
blending  of  male  voices.  Record  16453  (V)  af- 
forded comparison  in  tone  quality  with  negro 
voices  in  the  Fisk  Quartet  of  Jubilee  Singers  and 
called  forth  a  talk  on  their  "  Spirituals,"  of 
which  "  Golden  Slippers  "  and  "  Swing  Low, 
Sweet  Chariot  "  are  typical.  The  lesson  closed 
with  the  spiritual  idea  in  the  great  Hallelujah 
Chorus,  31770  (V).  The  boy  was  entranced. 
He  had  missed  not  a  word  or  a  tone,  sometimes 
even  forgetting  to  wind  the  machine,  and  at 
the  close  exclaimed,  quite  unconsciously,  "  Gee, 
but  that  music  was  swell !  "  Beyond  doubt, 
boys  of  this  type  can  be  educated  to  an  appre- 
ciation of  good  music  and  will  learn  to  talk 
about  it,  if  a  teacher  is  tactful  in  her  use  of  the 
listening  lesson. 

If  her  work  is  psychologically  sound,  a  teacher 


will  know  it  by  the  final  results.  Children 
may  be  entertained  for  a  time  by  a  personality, 
or  by  the  novelty  of  a  subject,  but  it  will  lead 
to  nothing  in  particular.  There  must  be  sound 
method  in  all  that  is  done  for  children  though 
they  need  not  discover  its  subtlety. 

Broadly  outlined,  the  method  for  teaching 
music  appreciation  is  this  : 

In  the  first  year  of  school  life  the  child  is 
taught  to  listen  to  music,  first  through  those 
phonograph  records  which  appeal  to  his  under- 
standing and  curiosity.  He  learns  concentra- 
tion. He  distinguishes  simple  content  in  music 
and  expresses  his  ideas  concerning  it.  He  makes 
comparisons  between  certain  pieces  and  com- 
ments upon  them.  In  short,  he  has  the  idea 
that  music  contains  things  to  think  about,  and 
his  mind  is  active  when  he  hears  it.  Taste 
begins  to  show  itself. 

With  advance  through  the  grades,  he  grad- 
ually becomes  familiar  with  many  tunes  and 
can  sing  the  subject  phrase,  which  identifies 
the  piece.  Little  by  little  he  learns  how  music 
came  to  be  what  it  is ;  gains  ideas  about  har- 
mony and  musical  structure ;  associates  folk 
tunes  with  different  nations ;  and  learns  names 
of  different  kinds  of  music,  composers,  musical 
terms,  etc. 


GENERAL  INSTRUCTIONS  TO  TEACHERS          15 

He  acquires  taste  as  well  as  knowledge,  and 
expresses  himself  upon  the  subject  in  suitable 
language. 

He  uses  the  listening  lesson  as  the  subject 
of  the  written  language  lesson,  learning  the 
essentials  of  musical  criticism. 

Finally,  in  seventh  and  eighth  grades,  chil- 
dren have  a  general  idea  of  classical  and  roman- 
tic compositions  and  criticise  programs  which 
contain  symphonic  music,  art  songs,  oratorios, 
opera  selections,  etc.  In  other  words,  a  degree 
of  musical  intelligence  is  attained  before  the 
high  school  age,  and  habits  of  listening  are 
acquired  in  the  most  zealous  and  formative 
period  of  life. 

Everybody  needs  the  gospel  of  good  music, 
and  you,  most  highly  privileged  teacher,  are 
the  missionary.  Consider  yourself  called  to 
the  work  and  as  one  of  the  chosen  who  would 
not  for  anything  cease  her  effort  to  get  music 
into  the  souls  of  the  children.  Use  every  kind 
of  good  music,  and  introduce  it  into  the  child's 
life  at  the  opportune  time.  Skillfully  work 
the  music  in  with  other  subjects ;  use  it  often 
as  the  basis  of  the  language  lesson ;  use  it  with 
geography  and  history;  teach  the  musical 
interpretation  of  certain  poems  which  are  mem- 
orized ;  and  in  addition,  have  a  definite  time 


1 6  LISTENING  LESSONS  IN  MUSIC 

in  the  music  course  for  lessons  on  appreciation. 
The  time  given  to  this  kind  of  music  lesson  may 
not  result  in  spectacular  choruses  and  musical 
entertainments  for  public  acclaim,  but  will 
surely  produce  a  generation  of  music  lovers. 

The  teacher  may  sometimes  find  it  more 
expedient,  in  board  work,  to  use  syllables 
instead  of  musical  notation.  The  following 
notation  is  used  in  this  manual : 

Syllables  for  notes ;  a  short  dash  following  a 
syllable  indicates  a  single  beat;  two  dashes 
signify  two  beats ;  a  syllable  without  a  dash  is 
equivalent  to  one  half-beat ;  a  syllable  under- 
lined or  overlined  shows  its  relative  position 
to  the  tonic.  The  dot  is  used  as  in  ordinary 
musical  notation.  "  America "  will  serve  in 
illustration : 

Do  -  do-  re  -  ti  -.  do  re  - 
Mi  -  mi  -fa-  mi  -.  re  do  - 
Re  -  do-  ti-  do  — 

Records  are  designated : 

C  for  Columbia. 
E  for  Edison. 
V  for  Victor. 


CHAPTER  TWO 

THE   SENSORY  PERIOD 

Grades  One,  Two,  and  Three 

To  paraphrase  an  old  saying,  "If  a  child  can 
think  and  won't  think,  we  must  make  him 
think,"  and  it  is  our  business  to  make  him 
think  musically.  A  little  child  is  honest.  He 
will  not  affect  an  interest  in  a  thing  he  does  not 
understand,  simply  because  a  grown  person  says 
it  is  interesting.  There  are  musical  parents 
whose  children  dislike  music,  the  reason  being, 
probably,  that  the  parents  expect  mature  taste 
from  their  children.  Every  child  can  be  inter- 
ested in  music,  but  he  must  get  the  content, 
not  by  having  it  told  to  him,  but  by  having  it  so 
simple  that  he  will  experience  the  joy  of  dis- 
covering it.  We  face  the  fact  that  no  one  is 
born  with  taste,  and  that  cultivation  begins 
early  in  life. 

In  this  early  period  a  child  needs  : 

7.  For  Concentration: 

(a)  Simple  songs  which  may  be  learned  by 

rote. 

(b)  Descriptive  pieces. 

17 


1 8  LISTENING  LESSONS  IN  MUSIC 

II.  For  Discrimination: 

(a)  Pieces  which  have  definite  outlines, 
marked  rhythm,  and  well-balanced 
phrases. 

(&)  Opportunities  to  distinguish  between 
different  qualities  of  tone  —  both 
of  human  voices  and  musical  in- 
struments. 

(c)  Simple  tunes  to  be  learned  independ- 

ent of  the  words. 

(d)  Opportunities  to  become  familiar  with 

musical  literature  —  both  vocal  and 
instrumental. 

The  first  lesson  will  be  to  teach  concentration 
—  the  sine  qua  non  in  the  art  of  listening.  The 
musical  material  must  contain  something  which 
the  child  can  comprehend  and  enjoy  in  order  to 
hold  his  attention ;  it  must  contain  also  some- 
thing new  which  he  can  add  to  his  little  knowl^- 
edge.  This  is  musical  growth. 

SELECTED  LESSONS  FOR  SENSORY  PERIOD 

(Records  suggested  for  this  period  may  be 
used  in  first  grade,  unless  otherwise  indicated.) 

I.  For  Concentration: 

(a)  Simple  songs  to  be  learned  by  rote,  which 
have  words  corresponding  to  child's  experience. 


THE  SENSORY  PERIOD  19 

The  following  method  of  presenting  songs 
based  on  familiar  words  is  for  the  first  lesson ; 
thereafter,  records  in  this  class  may  be  used 
for  pleasure  and  variety  in  rote  singing. 

Mother  Goose  Songs.    17004  (V) 

Before  beginning  the  lesson,  the  teacher  sees  that 
the  machine  is  wound,  the  needle  adjusted,  and  the 
record  in  place.  Without  any  comment  upon  the 
character  of  the  lesson,  she  says  :  "  I  wonder  what 
this  piece  is  about  ?  When  any  one  knows,  he  may 
raise  his  hand  but  not  tell  anybody."  She  starts  the 
machine,  playing  "  Little  Bo-Peep."  Hands  come 
up  until  about  half  in  the  room  have  recognized  the 
words  and  are  eager  to  tell.  Their  faces  gleam  with 
the  joy  of  discovery.  With  finger  on  her  lips,  how- 
ever, the  teacher  will  not  allow  the  name  of  the 
piece  given.  She  calls  attention  to  one  boy  whose 
hand  is  raised  and  to  a  boy  sitting  next  to  him  who 
has  not  heard.  She  wonders  why.  She  asks  if  the 
second  boy  can  listen  harder.  The  piece  is  played 
again  and  most  of  the  latent  half  wake  up.  Even 
a  third  effort  is  warranted  in  the  desire  to  have  every 
child  get  this  point  of  the  lesson ;  namely,  that  he 
will  hear  something  pleasant  if  he  listens  closely.  A 
child  is  asked  to  recite  the  words.  The  children 
then  sing  with  the  machine  and  discover  that  the 
lady  sang  the  word  "  home  "  longer  than  they  did. 
They  try  again  and  have  now  learned  the  song,  which 
subsequently  they  can  sing  without  the  machine. 

The  teacher  wonders  what  the  next  piece  is  about, 
and  plays  "  Little  Jack  Homer."  Almost  the  entire 
class  will  discover  the  words  the  first  time  and  be 
eager  to  tell  them. 


20  LISTENING  LESSONS  IN  MUSIC 

Other  pieces  on  this  side  of  the  record  should  fol- 
low, and  after  the  children  have  sung  "  Ride  a  Cock- 
Horse,"  call  attention  to  the  little  bit  of  music 
heard  before  the  words  —  meaning,  of  course,  the  in- 
troduction. ;Play  it.  What  did  it  sound  like  ? 
Some  child  is  sure  to  say,  "  It  sounds  like  a  horse 
trotting."  For  the  first  time  their  attention  is  given 
to  an  artistic  accompaniment.  Apply  the  same  idea 
to  "  Twinkle,  Twinkle,  Little  Star." 

In  the  same  manner,  present 

Mother  Goose  Lullaby.     17719  (V) 

"  Rock-a-by,  baby,  thy  cradle  is  green ; 
Father's  a  nobleman  ;    mother's  a  queen ; 
Sister's  a  lady  and  wears  a  gold  ring; 
Brother's  a  drummer  and  drums  for  the  king." 

The  following  method  is  for  the  first  presenta- 
tion of  songs  based  on  unfamiliar  words. 

The  Secret.     17513  (V) 

Ask,  "  What  is  a  secret  ? "  They  all  know,  and 
several  children  may  be  allowed  to  give  their  under- 
standing of  the  word.  Repeat  the  stanza.  (Words 
may  be  obtained  through  listening  to  the  record,  or 
from  "  Dutch  Ditties  "  by  Anice  Terhune,  published 
by  G.  Schirmer  &  Company.) 

[NOTE.  —  The  wise  teacher  will  recite  the  text 
thoughtfully,  giving  due  significance  to  each  important 
word.  In  this  detail  one  cannot  afford  to  be  careless, 
since  little  children  are  but  imitators.  Any  slight 
aid  in  securing  interest  is  of  course  justifiable,  as, 
for  example,  enumerating  on  the  fingers  "Hans, 
Franz,  and  Peterkin  "  of  the  poem.] 


THE  SENSORY  PERIOD  21 

Play  the  record.  Let  the  children  repeat  the 
words  after  the  teacher  (phrase  method)  and  then 
sing  with  the  machine,  when  they  will  have  the 
double  task  of  remembering  the  words  and  learning 
a  new  tune.  But  it  is  done  easily,  since  they  have 
already  repeated  the  words  and  the  tune  is  rhythmi- 
cal. 

In  the  same  manner,  create  interest  in  The  Giants, 
17596  (V). 

Ask :  What  is  a  giant  ?  You  may  learn  a  song 
about  giants  who  were  so  tall  they  could  "  reach  clear 
up  to  the  skies."  What  would  they  see  there  ?  Yes, 
"clouds,"  and  "stars,"  and  "sun,"  and  "moon." 

(Words  may  be  obtained  through  the  record,  or 
from  "  Songs  of  Child  World,  No.  I,"  Riley-Gaynor, 
published  by  Clayton  F.  Summy  Company.) 

The  following  method  is  for  presenting  an- 
other class  of  songs  having  unfamiliar  words. 

Without  comment,  play  Old  Chanticleer,  17513  (V) 
(same  record  as  The  Secret). 

At  the  first  sound  of  the  rooster  crowing  there  is 
concentration.  Every  child  will  listen  attentively 
to  this  short  song,  which,  by  the  way,  is  excellent  in 
its  clear  rhythm  and  simple  content.  At  the  con- 
clusion, hands  will  fly  up  to  tell  that  "  the  rooster 
crowed."  Then  the  teacher  asks,  "  What  else  did 
you  hear  ?  "  Some  one  will  answer,  "  A  lady  sang." 
"  Yes,"  says  the  teacher,  "  but  what  did  the  lady 
say  ? "  Not  one  can  tell  anything  further  than 
"  Cock-a-doodle-doo."  "  What  did  the  lady  call  the 
rooster  ?  Oh,  it  was  such  a  funny  long  name, 
'  Chanticleer.' '  The  teacher  writes  it  on  the  board. 
The  children  say  it.  (This  is  the  only  word  they 


»2  LISTENING  LESSONS  IN  MUSIC 

cannot  get  by  intensive  listening.)  Play  the 
record,  ending  with  the  first  couplet.  Ask  again, 
"  What  did  the  lady  say  ?  "  Several  children  have 
hands  up  to  tell  the  first  two  lines  :  "You  think  your 
voice  is  very  fine,  but  I  can  do  that  too."  All  the 
rest  of  the  children  get  the  idea  of  what  to  listen  for 
and  also  the  valuable  point  that  they  must  remember 
what  they  hear  in  order  to  tell  the  teacher.  The 
mind  is  now  engaged  both  in  anticipation  and  recol- 
lection. Play  the  record  again,  ending  with  the 
next  thought.  This  piecemeal  method  of  playing 
has  value  in  the  first  period  in  making  it  easier  for 
children  to  learn  both  the  tune  and  words  of  an  un- 
familiar song.  At  each  playing,  new  phrases  will 
be  learned,  and  after  five  or  six  attempts  the  little 
stanza  can  be  repeated. 

When  words  and  tune  are  well  in  mind,  have  the 
children  sing,  making  the  observation  that  when  the 
rooster  crows,  they  listen. 

As  teachers  know,  memory  tests  are  of  great  in- 
terest to  primary  children,  and  it  is  wise  to  call  upon 
individuals  in  the  class  to  repeat  the  poem  or  to  sing 
certain  couplets. 

(Words  may  be  obtained  through  listening  to  the 
record  or  from  the  collection  of  primary  songs  called 
"  Dutch  Ditties  "  by  Anice  Terhune,  published  by 
G.  Schirmer  &  Company.) 

In  the  same  manner,  use  Riggetty  Jig,  17719  (V). 

After  listening  to  the  record  several  times  (if  nec- 
essary), the  teacher  questions  the  children  :  What  was 
it  about  ?  "  A  horse."  What  else  ?  "  A  willow 
tree."  Who  ever  saw  a  little  boy  ride  a  stick  around 
the  room  and  play  that  it  was  a  horse  ?  With  this 
slight  suggestion  the  words  are  recognized  and  the 
class  may  repeat : 


THE  SENSORY  PERIOD  2$ 

"So  fast,  so  fast,  my  horse  can  go. 
Oh,  riggetty,  jiggetty,  jig,  you  know! 
It's  just  a  branch  of  a  willow  tree. 
Oh,  riggetty,  jig,  you  see." 

Summary :  Thus  far  there  have  been  three 
steps  in  presenting  the  rote  songs  : 

First,  the  children  discovered  "  Bo-Peep," 
which  contained  something  old  (the  words) 
and  something  new  (the  tune). 

Second,  the  children  related  a  new  tune  to 
new  words  which  were  told  to  them. 

Third,  the  children  learned  both  unfamiliar 
words  and  music  through  concentration. 

In  ike.  first  class,  the  teacher  will  place  songs,  the 
words  of  which  are  already  familiar  to  her  pupils. 

In  the  second  class,  songs  to  be  presented 
after  the  manner  of  "  The  Secret,"  are : 

The  Giants,  17596  (V) 

The  Woodpecker  ] 

Robin  Redbreast 

The  Owl  17686  (V) 

The  Bobolink 

The  Tulips 

Slumber  Sea  \  »„* 

Sleep,  Little  Baby  of  Mine  J I72: 

In  the  third  class  are : 

Slumber  Boat,  45075  (V) 
See-Saw  \         ,  ,Try 
Pit-a-Pat  1  ^596  (V) 
Riggetty  Jig,  17719  (V) 


24  LISTENING  LESSONS  IN  MUSIC 

The  basis  of  classifying  songs  in  these  groups 
depends  upon  the  difficulty  in  grasping  both  new 
tune  and  words  at  the  same  time.  If  words  are 
indistinct,  the  song  belongs  to  the  second  class 
where  words  are  told.  If  the  tune  is  not  rhyth- 
mically contagious,  the  song  belongs  also  in  the 
second  class. 

Songs  in  the  third  class  must  have  distinct 
words  and  rhythmical  tune.  The  children  may 
first  sing  the  tune  with  the  record,  using  syl- 
lable la  when  the  tune  is  long  or  difficult  for 
the  grade ;  e.g.  "  Sleep,  Little  Baby  of  Mine." 

Have  the  children  sing  all  songs  first  in  con- 
cert, then  individually.  The  teacher  should 
smile  with  encouragement  upon  every  effort, 
but  should  render  little  assistance  either  through 
singing  or  marking  the  rhythm  —  thus  teaching 
children  self-reliance  and  gaining  responsive- 
ness from  the  beginning. 

(b)  Descriptive  pieces. 

The  following  method  is  for  the  initial  pres* 
entation. 

The  Whistler  and  His  Dog.    A  64  (C) ;   17380  (V) 

Ask,  "  What  will  a  dog  do  when  he  hears  music  ?  " 
Hands  come  up  and  the  children  are  eager  to  tell 
you,  "He  barks,"  or  "howls,"  or  '/cries."  Tell 
them  the  band  will  play  and  a  boy  will  whistle  and 
maybe  the  dog  will  bark.  The  concentration,  which 


THE  SENSORY  PERIOD  25 

is  the  pure  object  of  this  lesson,  continues  until  the 
piece  closes  with  the  anticipated  bark  of  the  dog. 
The  rhythm  and  melody  are  clearly  marked  and  the 
harmony  so  simple  as  to  be  no  distraction  to  the 
child  mind.  Some  of  the  boys  pucker  their  lips  — 
touched  by  contagion  of  the  whistling  in  the  piece. 
A  point  may  be  made  of  the  benefits  of  whistling 
and  how  it  makes  us  healthy  and  happy. 

In  a  Clock  Store.    A  5684  (C) ;  35324  (V) 

Tell  story.  Once  there  was  a  store  with  nothing 
in  it  but  clocks,  all  kinds  of  clocks,  hanging  around 
the  wall :  a  big  clock  that  struck  so  loud  it  could  be 
heard  all  over  town,  and  little  clocks  that  ticked  so 
softly  you  could  hardly  hear  them.  And  there  was 
a  cuckoo  clock  (how  many  have  seen  one  ?)  and  a 
tall  clock  that  you  could  get  into,  and  a  wonderful 
clock  that  played  a  tune  with  chimes.  A  boy  took 
care  of  this  store  and  he  whistled  when  he  dusted  off 
the  clocks,  —  such  a  happy  boy  was  he  !  You  may 
raise  your  hands  when  you  hear  him  whistle.  One 
day  the  tick-tock  of  the  big  clock  grew  slower  and 
slower  and  finally  stopped,  and  the  boy  came  and 
wound  it  up,  and  oh,  it  sounded  so  funny !  You 
may  raise  your  hands  when  you  hear  him  wind  it. 

Start  the  record,  and  as  the  clocks  strike,  count 
the  strokes  on  the  fingers  to  hold  the  concentration 
of  the  children.  This  record  takes  four  minutes  to 
play,  and  it  is  necessary  in  the  first  grade  to  have 
something  definite  in  anticipation  to  keep  interest. 
At  each  playing,  have  a  new  point  for  anticipation. 

The  Toymaker's  Shop.    60080  (V) 

This  closely  resembles  "  In  a  Clock  Store  "  in 
character,  and  may  be  presented  in  the  same  way 


26  LISTENING  LESSONS  IN  MUSIC 

by  telling  the  story  of  a  Toymaker's  Shop  and  how 
all  the  toys  talked  one  day  when  the  master  was  away. 
At  the  conclusion  of  the  record  the  children  will  be 
eager  to  tell  of  the  different  sounds  heard.  Each  row 
may  be  asked  to  raise  hands  when  certain  things  are 
heard,  as  the  music  box,  the  rooster,  the  big  dog,  the 
crying  puppy,  etc. 

Dagger  Dance  ("Natoma").    70049(7) 

Ask  the  children,  "  How  many  have  seen  real 
Indians  ?  "  Many  will  have  something  to  tell  about 
where  they  saw  them.  The  whole  room  is  soon 
concentrating  upon  the  subject  of  Indians.  Then 
the  teacher  inquires,  "  What  kind  of  music  have  the 
Indians  ?  "  The  first  half  of  the  record  is  played, 
closing  with  the  fourth  repetition  of  the  first  theme. 
The  teacher  asks,  "  Is  it  like  our  music  ?  "  "  No." 
"  What's  the  matter  with  it  ?  "  The  never  failing 
answer  comes,  "  It's  too  jerky."  This  is  the  one  ad- 
jective that  comes  from  every  primary  group  of 
children,  though  some  will  also  say  it  is  "  coarse  " 
and  "  rough  "  and  "  loud."  The  question,  "  What 
kind  of  music  do  we  like  ? "  will  bring  the  desired 
answer,  "  Smooth."  When  children  do  not  sing 
smoothly  they  may  be  reminded  of  the  "  jerky 
Indian." 

Song  of  Nightingale.    64161  (V) 

Start  record  without  comment.  After  a  few 
phrases  are  heard,  quietly  wonder  what  kind  of 
bird  is  singing.  One  child  says,  "  canary,"  but  as  the 
phrases  change,  opinions  vary,  and  we  hear  "  bobo- 
link," "  meadow  lark,"  "  red-headed  wood-pecker," 
"  robin,"  "  song-sparrow,"  etc.,  and  they  finally 
decide  upon  "  mocking  bird."  Write  "  nightingale" 


THE  SENSORY  PERIOD  27 

on  the  board.     They  have  learned  that  it  sings  many 
different  tunes  and  can  also  tell  that  it  sings  at  night. 

[NOTE.  —  There  are  very  few  records  which  the 
children  should  be  allowed  to  interrupt  —  only  those 
where  constantly  changing  phrases  make  it  necessary 
to  define  them  as  they  are  heard.] 

Summary  of  work  with  descriptive  pieces: 
Natural  and  easy  concentration  has  been  secured 
through  an  underlying  story,  or  through  the 
element  of  curiosity. 

Each  record  should  be  followed  by  oral 
expression  or  language  drill,  which,  based  solely 
upon  ear  perception,  renders  that  sense  more 
acute.  After  the  initial  use  of  the  record,  con- 
tinue as  long  as  interest  is  found,  developing 
different  points  with  each  presentation. 

1 1 .  Discrimination : 

(a)  Between  character  of  pieces. 

Cradle  Song.  —  Hauser  (Cello  Solo).     17254  (V) 

Before  playing  this  number,  the  teacher  should 
create  interest  and  force  a  conclusion  upon  its  charac- 
ter through  suggestion :  There  are  many  kinds  of 
music. 

What  kind  makes  us  want  to  keep  step  as  we  walk  ? 
"  March."  Can  you  always  tell  a  march  ? 

What  kind  will  put  the  baby  to  sleep  ?  "  A  lull- 
aby." Can  you  tell  a  march  from  a  lullaby  ? 

What  kind  goes  pretty  fast  and  makes  the  feet 


28  LISTENING  LESSONS  IN  MUSIC 

want  to  go  round  ?  "  Dance."  Can  you  tell  a  dance 
from  a  march  ?  From  a  lullaby  ? 

What  kind  do  all  the  people  sing  together  in 
church  ?  "  A  hymn."  Can  you  tell  a  hymn  from  a 
march  ?  From  a  lullaby  ?  From  a  dance  ?  Now  we 
shall  see.  Telling  each  child  to  raise  his  hand  as 
soon  as  he  has  decided  the  character  of  the  piece,  the 
teacher  plays  the  record  (only  first  theme  with  its 
repetitions). 

The  class  almost  as  a  whole  will  say  it  is  a  lullaby.1 
The  teacher  asks  one  child  how  he  could  tell  it  was  a 
lullaby.  "  Because  it  was  slow  "  ;  another  will  say 
"  low  " ;  "  soft,"  "  smooth,"  "  sweet,"  come  from 
others.  Yes,  but  something  else  told  you  it  was  a 
lullaby.  How  did  it  go  ?  "  Up  and  down,"  says  one. 
"  Wavy,"  says  another ;  "  like  a  swing,"  still  another. 
Yes,  but  there  is  one  word  that  belongs  to  a  lullaby, 
and  you  haven't  said  it  yet.  Do  you  wave  or  swing 
the  baby  to  sleep  ?  And  each  child  is  ready  with  the 
word,  "  rock."  Yes,  there  must  be  a  rocking  in 
every  lullaby.  Some  one  sings  by  the  cradle,  and 
her  song  must  be  soft,  and  low,  and  sweet,  and  slow. 
What  sang  the  mother's  song  in  this  piece  ?  The 
answer  "  violin  "  is  given,  and  the  teacher  may 
explain  that  it  is  a  large  violin  which  rests  on  the 
floor  and  that  the  musician  sits  when  playing  it.  It 
sounds  deeper  than  the  little  violin  which  is  tucked 
under  the  chin,  and  is  called  a  cello  (write  on  board). 
She  may  subsequently  compare  the  tone  with  a  violin 
record  and  show  pictures  of  the  two. 

Have  the  class  sing  with  the  record,  using  syllable 
la,  and  move  the  right  hand  slightly  to  the  rocking 
rhythm. 

1  Should  some  child  thoughtlessly  say  "  March,"  play  the 
record  again  and  have  him  try  to  march  to  the  very  slow  tune. 
He  is  impressively  convinced  —  and  so  is  the  entire  room. 


THE  SENSORY  PERIOD  29 

Hymn  (Church  Bells  and  Organ).     16825  (V)  (a) 

Play  only  through  repetitions  of  opening  theme. 

What  did  you  hear  ?  "  Bells."  But  what  did 
you  hear  first  ?  "  Bells." 

Start  record  again  and  children  will  discover  that 
the  organ  comes  first,  it  being  obscured  in  the  over- 
whelming sound  of  the  bells.  Which  plays  the 
tune  (the  part  you  can  sing)  ?  Let  them  sing 
with  the  bells,  using  syllable  la,  and  they  will 
learn  the  distinction  between  the  tune  and  its  accom- 
paniment. The  last  word,  not  belonging  to  the 
primary  child's  vocabulary,  may  be  defined  as  "  music 
which  keeps  company  with  the  tune." 

What  kind  of  bells  ?  How  do  you  know  they  were 
church  bells  ?  Maybe  they  were  on  the  fire  engine 
house  or  in  the  courthouse  tower.  The  children  are 
firm  in  associating  bells  and  organ  with  the  church 
—  to  some  extent,  their  unconscious  reasoning  being 
based  on  the  character  of  the  hymn  tune. 

What  kind  of  piece  is  it  ?  "  A  hymn  "  is  the 
never  failing  answer. 

Ciribiribin  Waltz.    16357  (V) 

What  kind  of  piece  ?     "  Dance." 

Dance  California.     17357  (V) 

This  may  be  used  as  a  variant  with  the  preceding, 
and  has  additional  interest  for  children  in  the  orches- 
tra bells  which  carry  the  theme. 

American  Patrol.     16523  (V) 
What  kind  of  piece  ?     "  March." 


30  LISTENING  LESSONS  IN  MUSIC 

Soldiers'  Chorus.     35227  (V) 

This  well-known  composition  has  been  arranged 
for  school  marching,  and  the  children  may  march 
through  the  aisles  when  it  is  played. 

Spring  Voices  (Whistling  Solo).     16835  (V) 
or, 

Song  of  the  Wood  Bird.    S  3016  (C) 

Play  a  part  only.  Question  its  character.  Happy 
or  sad  ?  Fast  or  slow  ?  High  or  low  ?  Does  it 
sound  like  spring  or  winter  ?  When  do  the  birds 
sing  ?  Comment  on  the  joy  of  whistling,  as,  "  Who- 
ever saw  a  boy  cry  and  whistle  at  the  same  time  ? " 

Farewell  (Cornet  Solo).    17035  (V) 

Ask  what  instrument  plays  the  tune.  Is  the  piece 
happy  or  sad  ?  Is  it  a  march  ?  Is  it  about  spring- 
time ?  How  does  it  sound  ?  "  Sad  and  slow." 

Is  it  a  lullaby  ?  "  No."  But  it  rocks  like  a 
lullaby  and  is  low  and  slow  and  soft.  How  do  you 
know  it  will  not  put  the  baby  to  sleep  ?  "It  is  too 
sad."  What  kind  of  tune  has  the  lullaby?  "Oh 
yes,  sweet." 

Are  people  glad  or  sorry  when  they  say  good-by  ? 
Do  they  say  it  in  a  hurry  or  slowly  ?  This  is  a 
"  good-by"  piece  suitable  for  early  grades.  Let 
the  class  sing  with  the  record  and  later,  independently, 
using  the  syllable  la. 

Summary  of  work  in  distinguishing  musical 
character  of  pieces:  Vague  and  unexpressed 
musical  knowledge  has  become  definite.  Dis- 
tinction between  different  kinds  of  music  has 


THE  SENSORY  PERIOD  31 

been  focused  into  a  new  interest,  and  musical, 
observation  has  become  more  keen. 

(b)  Opportunities  to  distinguish  between  dif- 
ferent qualities  of  tone  —  both  of  human  voices 
and  musical  instruments.     Concerning  the  voice 
a  child  should  tell  whether  it  be  that  of  a  man 
or  woman,  whether  high  or  low,   loud   or   soft, 
fast  or  slow.     Concerning  instruments  he  should 
learn  the   quality  of  the  cornet,   violin,    flute, 
organ,  bells,  and  piano,  —  in  short,  those  which 
would    most    likely  come   into   his    experience. 
A   special  list   of  records  is  not  needed,  since 
points  desired   may  be   deduced   from   records 
already  mentioned. 

(c)  Simple  tunes  which  the  child  learns,  inde- 
pendent of  words,  by  singing  the  melody  and 
marking  the  rhythm  with  a  slight  movement  of 
the  hand  without  the  aid  of  the  teacher.     Such 
pieces  should  be  simple  enough  to  be  sung  with 
the  phonograph  after  a  few  phrases  are  heard. 

I.  The  class  should  sing  melodies  in  instru- 
mental compositions  whenever  the  compass  is 
suitable. 

Sweet  and  Low  (Brass  Quartet).    S  3011  (C) ;  16382  (V) 
Brahm's  Lullaby  (Cornet  Solo).    A  1304  (C) ;  17417  (V) 

Have  the  children  sing  these  selections,  using  the 
syllable  /a,  until  tunes  are  familiar.  The  teacher 


32  LISTENING  LESSONS  IN  MUSIC 

may  then  write  words  of  songs  upon  the  board  if 
desired. 

Use  in  the  same  manner  Cradle  Song,  17254  (V) 
(page  27),  and  Hymn,  16825  (V)  (page  29). 

2.  The  class  should  tap  rhythm  in  pieces 
where  it  is  easily  marked. 

Strauss  Polka  Mazurka  (Bell  Solo).     16280  (V) 

Used  as  a  rhythmic  exercise  in  grades  two  and 
three.  The  teacher  speaks  of  the  bell  ringing  a 
tune  while  the  band  plays,  and  suggests  that  the 
children  put  their  right  arms  on  the  desks  and  tap 
quietly  in  concert  with  their  index  fingers.  When 
the  music  begins,  the  teacher  shows  how  each  one 
taps  at  the  same  time  (first  beat  of  each  measure), 
and  while  watching  them,  tells  this  boy  he  is  too 
slow,  another  too  fast,  and  so  on,  until  all  are  in 
rhythmic  accord.  At  first  she  may  whisper  "  down, 
down,  down  "  at  the  leading  accent. 

Dance  California.     17357  (V) 

This  may  be  used  as  a  variant  with  the  preceding 
number. 

(d)  Beginning  the  acquirement  of  musical 
literature.  A  special  list  is  not  suggested  since 
each  teacher  will  add  records  to  those  already 
mentioned. 

The  following  song  may  be  taken  as  a  fitting 
conclusion  to  illustrative  material,  inasmuch 
as  it  contains  many  points  developed  in  pre- 
ceding lessons. 


THE  SENSORY  PERIOD  33 

Song  of  the  Chimes  (Lullaby).    64322  (V) 

This  represents  the  highest  type  of  song  in  primary 
work.  As  with  the  observation  song  in  the  first 
lesson,  the  teacher  quietly  wonders  what  the  piece  is 
about  as  she  starts  the  machine.  At  the  first  sound 
of  the  chimes,  the  children  are  eager  to  say  "  church," 
but  the  teacher  tells  them  to  hear  it  through.  Later, 
when  they  catch  the  words  "  lullaby,"  "  sleep,  my 
baby,"  and  find  also  the  rocking  there,  they  are  con- 
fused. After  a  thoughtful  moment  the  two  ideas 
are  related  and  hands  fly  up.  "  A  Christmas  lull- 
aby." The  teacher  then  tells  the  words  to  them. 
Obviously,  the  selection  is  not  for  them  to  sing,  but 
to  create  taste. 

Conclusion.  With  the  variety  given  in  pre- 
ceding pages,  the  teacher  should  have  no  diffi- 
culty in  fitting  other  pieces  of  similar  character 
into  the  general  scheme.  The  teacher  will 
note  the  preference  shown  for  compositions 
having  sustained  tones  —  the  "  Church  Hymn," 
"  Farewell,"  "  Lullaby"  —  and  will  recognize 
their  excellence  for  ear-training.  When  the 
children  sing  with  such  records,  they  should  give 
the  long  tones  their  full  value,  such  tones  also 
requiring  smooth  and  soft  effects. 

In  the  selection  of  records,  special  care  is 
required  for  the  youngest  children,  since  not  all 
that  are  labeled  "  Children's  Songs  "  belong 
to  that  class.  There  is  a  vast  difference  be- 
tween what  an  adult  thinks  a  child  ought  to 


34  LISTENING  LESSONS  IN  MUSIC 

enjoy  and  what  he  actually  will  enjoy.  Song 
records  should  contain  simple  words,  clear 
enunciation,  and  pleasing  voice  (lyric  soprano 
preferable).  Any  song  in  which  the  tune  is  of 
more  value  than  the  text  or  which  contains 
words  beyond  the  comprehension  of  the  grade 
is  preferably  learned  through  solo  instrument. 
All  pieces  should  be  short,  simple,  and  capable 
of  producing  a  definite  impression. 

After  the  initial  lesson  has  been  gained  from 
a  record,  continue  its  use  as  long  as  there  is 
interest  or  pleasure,  developing  different  ideas 
suited  to  the  grade.  Briefly  illustrative  is 
Hauser's  "  Cradle  Song "  (page  27),  already 
used  to  develop  other  points. 

Play  record  through  first  phrase;  have  the 
class  sing  the  phrase ;  then  subsequently,  count 
the  number  of  times  it  is  heard  (the  teacher 
lifting  the  needle  after  the  fourth  repetition). 
Thus  is  the  attention  first  directed  toward  the 
"  repetition  of  the  phrase."  There  is  every 
reason  why  young  children  should  learn  this 
first  and  most  important  lesson  in  musical 
structure. 

When  the  children  have  gained  several  ideas 
of  musical  content  and  are  familiar  with  a 
number  of  records,  play  a  new  piece  and  ask 
them  to  classify  it,  or  to  comment  upon  its 


THE  SENSORY  PERIOD  3$ 

different  points.  Children  become  as  eager  to 
hear  new  pieces  and  find  what  they  are  like 
as  to  get  hold  of  a  new  story.  From  this  stage, 
taste  develops  rapidly  and  the  teacher  finds  it 
easy  to  discontinue  the  use  of  records  intended 
merely  to  hold  attention. 

There  is  logic  in  program  making  even  for 
little  children.  In  the  several  records  given 
for  illustration,  it  is  obvious  that  the  "  Song  of 
the  Chimes  "  has  high  esthetic  value  and  is 
used  for  developing  taste.  Had  this  piece 
been  placed  in  the  first  lesson  it  would  have 
meant  nothing  to  first-grade  children,  inasmuch 
as  they  had  not  learned  to  listen  intently  and 
to  think  about  the  music. 

The  teacher  will  not  forget  her  privilege  of 
raising  the  next  generation  to  a  conception  of 
music  as  something  more  than  an  entertaining 
diversion.  Right  now  in  the  first  grade  must 
the  child  think  about  the  music  he  hears,  and 
hereafter  we  may  be  sure  he  will  demand  the 
kind  that  has  in  it  something  to  think  about. 


CHAPTER  THREE 

THE  ASSOCIATIVE   PERIOD 

Grades  Four,  Five,  and  Six 

As  in  the  preceding  period,  music  must  make 
simple  and  easy  appeal.  It  is  still  Life's  un- 
conscious playtime  —  the  last  of  it. 

In  this  period,  the  child  will  relate  and  en- 
large upon  many  ideas  gained  at  an  earlier 
age.  Lessons  rich  with  variety  of  thought  are 
eagerly  grasped.  It  is  the  time  to  store  the 
mind  with  beautiful  melodies  and  simple  har- 
monies ;  to  lay  the  foundation  for  that  artistic 
enjoyment  which  will  last  throughout  life. 

Of  prime  importance  are  : 

/.   Folk  Songs  and  Folk  Dances. 
II.   Compositions  Having  Definite  Musical  Content, 
for  More  Extended  Practice  in  Discrimination. 

III.  Suggestive  Compositions  to  Supplant  the  Descrip- 
tive : 

(a)  Songs  based  upon  familiar  poems. 

(b)  Instrumental  pieces   related   to  suit- 

able stories. 

IV.  Medleys — for  Quick  Recognition  of  Familiar 
Compositions. 

36 


THE  ASSOCIATIVE  PERIOD  37 

V.  Familiarity  with  Artistic  Compositions  Gained 
through  Method  of  Singing  the  Subject  Phrase. 
VI.   The  Principle  of  Harmony. 
VII.  Form. 
VIII.   History  of  Music. 

(a)  Five-tone  scale. 
(&)   Indian  music. 
(c)   Negro  music. 

IX.   Singing  Habit  Established : 

(a)  Through  persistent  singing  with  pho- 

nograph records. 

(b)  Through     thoughtful     consideration 

given  to  the  importance  of  singing 
—  emphasis  being  laid  upon  the 
sustained  tone,  its  effects  and 
benefits. 

[Note  —  All  records  mentioned  in  this  chapter 
may  be  introduced  in  the  fourth  grade  unless 
otherwise  stated,  and  should  be  continued  as 
long  as  interest  is  sustained  and  additional 
points  can  be  developed.] 

SELECTED  LESSONS  FOR  ASSOCIATIVE  PERIOD 

I.  Folk  Music. 

Children  should  be  saturated  with  this  prim- 
itive music.  Only  the  joy  of  the  contagious 
rhythms  and  melodies  will  be  realized  at  this 


38  LISTENING  LESSONS  IN  MUSIC 

age,  but  a  deeper  interest  will  come  subse- 
quently when  the  music  is  related  to  geography 
and  history  lessons. 

(a)  Songs. 

Bring  the  significance  of  the  folk  song  to  the  class 
through  the  familiar  "  Swanee  River." 

How  many  know  the  song  ?  (All  in  the  fourth  grade 
except  a  few  foreigners.) 

The  class  may  sing  it  (key  of  D). 

When  did  you  learn  it  ?     "  I  do  not  know." 

How  did  you  learn  it  ?     From  a  book  ? 

"  No,  just  from  hearing  it." 

Then  it  must  be  easy. 

Did  you  like  to  learn  it  ? 

"  Yes." 

Then  it  must  be  pleasing. 

Is  it  a  new  song  ? 

"  No." 

How  old  ?     (No  answer.) 

As  old  as  your  grandpa. 

Who  sing  this  kind  of  song  ? 
'   "  Colored  people/' 

But  so  do  the  white  people,  j 

Where  is  this  song  sung  ? 

"  In  the  South." 

Yes,  but  also  in  the  North. 

To  whom  does  it  belong  ? 

To  everybody. 

What  do  you  call  a  song  that  is  old  and  that  every- 
body likes  and  can  learn  easily  from  hearing  it  ? 
It  is  a  word  of  four  letters. 

Yes,  a  "  folk  song." 

Evolve  a  blackboard  statement  from  words 
italicized ;  as :  A  folk  song  belongs  to  everybody, 


THE  ASSOCIATIVE  PERIOD 


39 


is  easily  learned,  has  a  pleasing  tune,  and  lives  to  be 
old.  Only  good  songs  live  to  be  old. 

Have  the  class  name  other  folk  songs  of  America. 
Several  of  Stephen  Foster's  will  likely  be  named  ;  as, 
"  My  Old  Kentucky  Home,"  "  Old  Black  Joe,"  etc., 
showing  that  the  children  have  the  idea. 

Have  the  class  name  a  folk  song  of  Scotland ;  of 
Ireland ;  of  other  countries  also,  as  far  as  the  class 
development  will  warrant. 

From  a  large  number  of  folk  song  records, 
the  following  are  selected. 

Annie  Laurie 

Comin'     Through    the 

Rye 

Blue  Bells  of  Scotland  I  Vocal  Medley  Fourth  Grade 
The  Campbells  Are  31869  (V) 

Coming 

Auld  Lang  Syne 
Loch  Lomond 

Robin  Adair.  16039  (V)  Fourth  Grade 

The  Harp  That  Once 

Thro'  Tara's  Halls 

Last  Rose  of  Summer     I  Vocal  Medley    Fifth  Grade 
Wearin'  of  the  Green       31865  (V) 
Killarney 

Come  Back  to  Erin 

The  Low  Back'd  Car.  A 1340  (C) ;  64329  (V)  Fifth  Grade 
Minstrel  Boy.    64117(7)  Fifth  Grade 

Girl  I  Left  Behind  Me.    17597  (V)  Fourth  Grade 

Old  Black  Joe  ] 

Dixie  |  Medley    16819  (V)          Fourth  Grade 

Swanee  River  J 
My  Old  Kentucky] 

Home  |  Chimes  16160  (V)     Fourth  Grade 

Home,  Sweet  Home  J 
Carry  Me  Back  to  Old  Virginny.    656  (V)  Fifth  Grade 


40  LISTENING  LESSONS  IN  MUSIC 

Santa  Lucia.    A  1340  (C) ;  16882  (V)  Fifth  Grade 
Believe  Me  if  All  Those  Endearing 

Young  Charms.    64180  (V)  Sixth  Grade 
Drink  to    Me   Only  with  Thine 

Eyes.    74204  (V)  Sixth  Grade 

Flow  Gently,  Sweet  Afton.     17386  (V)  Sixth  Grade 

All  Thro'  the  Night.    64414  (V)  Fourth  Grade 
How  Can  I  Leave  Thee  !    A  1689  (C) ; 

87505  (V)  Fourth  Grade 

Golden  Ring.    A  1667  (C)  Fourth  Grade 

You  Live  in  My  Heart.    87182  (V)  Fifth  Grade 
Lieber  Augustin            ]  v      ,  MPJIPV 

Tannenbaum  Aot/vl       7  i?-*.i^    A 

You  Live  in  My  Heart  J  3l68?  00  Flfth  Grade 

La  Paloma  (The  Dove)  1          ,  /,A  c.   .,   ,->     ja 

La  Golondrina  (The  Swallow)  /  I7442  00  Sixth  Grade 

Records  of  folk  songs  may  be  easily  supple- 
mented by  additional  selections  found  in  the 
regular  music  readers. 

There  is  also  another  class  of  folk  songs  with 
contagious  melody  but  over-sentimental  text, 
which  may  be  learned  through  a  solo  instru- 
ment in  preference  to  the  voice.  Italian  and 
Neapolitan  songs  provide  familiar  examples, 
such  as : 

O  Sole  Mio     16899  (V),  Cornet  Solo  Sixth  Grade 

Maria,  Man    16900  (V),  Cornet  Solo  Sixth  Grade 

In  teaching  records  like  the  preceding  two, 
the  teacher  may  conduct  as  in  chorus  while  the 
class  whistles  or  sings.  It  is  opportune  to 
speak  again  of  the  benefits  of  whistling.  To 


THE  ASSOCIATIVE  PERIOD  41 

develop  this  art,  the  teacher  may  give  a  short 
exercise  (for  home  practice)  in  which  the  tone 
is  produced  by  inhalation  as  well  as  exhalation, 
and  in  which  the  only  occasion  to  interrupt  the 
tone  is  for  moistening  the  lips.  In  such  exer- 
cises she  may  watch  the  second  hand  of  a  time- 
piece, and  allow  four  seconds  for  each  inhalation 
or  exhalation  —  using  one  tone  only,  or  the 
scale  ascending  and  descending  (E  to  E). 
With  one  hand  on  diaphragm,  while  long 
tones  are  taken  and  released,  the  child  will 
recognize  the  foundation  of  the  "  air  column  " 
and  develop  rapidly  his  ability  to  sustain  tones. 
A  whistling  chorus  may  be  beautiful  if  the  tones 
are  steady,  true,  and  modulated. 

(b)  Dances. 

Many  of  the  folk  dances  may  be  sung  as 
games. 

From  a  wealth  of  material  the  following  dances 
are  suggested,  some  for  whistling  and  singing; 
others  (underscored)  because  they  have  an  his- 
torical value. 

Tarantella  (Ital.),  Ace  of  Diamonds  (Dan.)  17083  (V) 

Shoemaker's  Dance  (Dan.),  Klappdans  (Swed.)  17084  (V) 

Greeting  (Dan.),  "  I  See  You  "  (Swed.)  17158  (V) 

Oxdansen  (Swed.),  Czardas  (Hung.)  17003  (V) 
Reap  the  Flax  (Swed.),  St.  Patrick's  Day 

(Irish  Jig)  17002(7) 

Minuet  (French),  May  Pole  Dance  (Eng.)  17087  (V) 


42  LISTENING  LESSONS  IN  MUSIC 

Highland  Fling  (Scotch),  Folk  Dance  (Rus.)  17001  (V) 

Kamarinskaia  (Rus.)                        17001  (V)  S  3002  (C) 

St.  Patrick's  Day,  Highland  Fling  S  3000  (C) 

Czardas  S  3037  (C) 

Shoemaker's  Dance  S  3038  (C) 

Mountain  March  (Nor.)  S  3041  (C) 

A  popular  method  of  singing  folk  dances  is 
to  make  two  divisions  of  the  class,  having  the 
first  half  announce  a  single  (or  double)  phrase 
and  the  second  half  respond  with  that  which 
immediately  follows.  Or,  the  class  may  be 
divided  into  whistlers  and  singers  and  accom- 
pany the  record  in  antiphonal  manner. 

[NOTE.  —  Stories  concerning  the  history  of  these  dances 
are  interesting,  but  more  properly  belong  to  the  geography 
lesson.  However,  the  story  of  the  Tarantella  is  for  children 
of  this  period,  who  may  be  told  of  its  association  with  the 
giant  spider,  tarantula.  The  dance  belongs  to  Italy  and 
Mexico,  where  the  spider  is  found,  and  the  superstition  is 
current  that  a  person  bitten  by  the  .poisonous  insect  must 
whirl  rapidly  in  this  dance  until  he  falls  from  exhaustion. 
Only  then  is  the  poison  driven  out.] 

II.  Compositions  with  Definite  Musical  Con- 
tent. 

In  the  earlier  period,  children  distinguished 
the  character  of  simple  pieces  having  definite 
outlines,  marked  rhythm,  and  well-balanced 
phrases  —  as  marches,  hymns,  lullabies,  dances, 
and  certain  songs.  These  subjects  contain  a 
life-long  interest,  and  in  the  Associative  Period 


THE  ASSOCIATIVE  PERIOD  43 

must  be  given  more  artistic  expression.  Also 
finer  distinctions  may  be  made  between  pieces 
of  the  same  general  character;  as,  for  example, 
a  march  that  is  heroic  and  a  march  that  is  sad ; 
or  dances  that  are  hopping,  or  whirling,  or 
gliding,  etc. 

(a)  Marches. 

Of  the  forms  which  were  simply  and  well 
defined  in  the  Sensory  Period,  none  may  be 
expanded  more  easily  than  the  march.  The 
average  child  has  not  distinguished  differences 
between  pieces  of  the  same  general  character. 
A  march  has  been  a  march  and  nothing  more. 
With  the  fourth  grade,  the  subject  may  be 
introduced  and  continued  through  all  suc- 
ceeding grades. 

American  Patrol.    A  1041  (C) ;  50145  (E) ;  16523  (V) 

Tell  children  they  must  give  it  a  name  which  will 
fully  describe  it.  As  the  piece  is  played,  the  class  may 
name  the  different  tunes  as  they  are  heard,  and  the 
teacher  may  write  them  on  the  board ;  "  Columbia, 
the  Gem  of  the  Ocean,"  "  Dixie,"  "  Yankee  Doodle." 

At  the  conclusion  ask : 

What  kind  of  piece  was  it  ? 

"  March." 

Who  were  marching  ? 

"  Soldiers." 

What  kind  of  soldiers  ? 

"  American." 


44  LISTENING  LESSONS  IN  MUSIC 

How  do  you  know  ? 

"  They  played  American  tunes." 

Put  these  words  together  and  tell  the  name  of  the 
piece. 

A  deliberate  body  it  is  for  a  moment  until  the 
correlation  is  made  :  "  American  Soldiers'  March." 

This  composition  may  be  familiar  to  some  in  the 
class,  who  will  announce  its  printed  title,  namely, 
"  American  Patrol."  If  so,  write  the  new  word  on 
the  blackboard,  and  fix  its  meaning  for  the  class. 
The  children  commonly  associate  it  with  the  police- 
man, and  the  significance  of  guard  duty  should  be 
applied  to  the  soldiers  as  well. 

Dead  March  from  "  Saul."    A  5150  (C) ;  16980  (V) 

Play  the  record. 

Would  this  be  a  good  march  for  soldiers  ? 

"  No." 

Would  it  be  good  for  school  purposes  ? 

"  No." 

Might  the  street  band  play  it  for  a  celebration  ? 

"  No." 

Why  not  ? 

"  Too  sad." 

When  would  it  be  suitable  ? 

"  When  some  one  is  dead." 

The  teacher  writes  the  title  and  the  composer's  name 
—  Handel  —  on  the  blackboard,  explaining  that  this 
is  one  of  the  great  funeral  marches  and  has  been 
played  over  some  of  the  great  heroes  of  history. 

Funeral  March. — Chopin.  A  5150  (C) ;  80073  (E) ;  35157  (V) 

Play  first  part  only,  in  fourth  and  fifth  grades. 
The  class  has  no  doubt  of  its  character. 


THE  ASSOCIATIVE  PERIOD  45 

In  the  sixth  grade,  play  the  entire  record  and  at  its 
close  draw  from  the  class  some  deductions  as  to  its 
two  strongly  contrasted  ideas. 

What  did  the  first  part  represent  ? 

"  The  tramp  of  the  feet."  (Or,  as  a  more  experi- 
enced critic  has  said,  "  The  heavy  tread  of  mourners 
in  their  sad  progress  to  the  grave.") 

Does  the  marching  continue  in  the  second  part  ? 

"  No." 

Describe  the  second  part. 

"  A  beautiful  melody." 

Yes,  like  a  song. 

Is  it  placed  in  the  range  of  a  high  or  a  low  voice  ? 

"  High." 

There  must  be  a  particular  reason  for  this. 

What  kind  of  voice  would  best  express  hopeful- 
ness and  spiritual  thought  ? 

"  High,  of  course." 

The  teacher  may  explain  :  The  first  part  describes 
the  earthly  or  material ;  the  second  part  the  spiritual, 
which  through  the  beautiful  song  declares  the  hope  of 
immortality.  The  march  closes  as  it  began  and  may 
thus  represent  the  procession  as  it  moves  away  from 
the  filled  grave.  This  composition  has  been  said  to 
depict  Chopin's  sorrow  over  the  fall  of  his  dearly 
loved  native  land,  Poland. 

Interesting  comparison  may  be  made  with  the 
Funeral  March  from  the  Beethoven  Sonata,  Opus  26, 
—  record  35426  (V). 

[NOTE.  —  While  it  is  not  necessary  for  the  school  child 
to  be  deeply  impressed  with  the  funeral  idea,  he  must  grow 
beyond  the  ordinary  school  march.  There  have  been 
known  full-grown  men  whose  opinions  on  literature  and 
other  serious  subjects  were  to  be  respected,  but  whose 
appreciation  of  music  had  never  advanced  beyond  the 
march  of  the  street  band.] 


46  LISTENING  LESSONS  IN  MUSIC 

Funeral  March  of  a  Marionette.  —  Gounod.    A  1211  (C) ; 
31081  (V) 

(Initial  presentation  in  the  sixth  grade.) 

The  teacher  writes  the  title,  with  name  of  composer, 
on  the  board  and  has  the  class  anticipate  the  char- 
acter of  the  selection.  Some  such  suggestion  as  the 
following  may  be  used  : 

I  wonder  what  the  piece  will  be  like.  Every  one 
can  recognize  a  march,  and  also  a  "  funeral  "  march. 

What  is  a  marionette  ?  Doesn't  anyone  know  ? 
What  did  that  little  boy  say  ? 

"  The  Queen  of  France "  (meaning  Marie  An- 
toinette). 

Part  of  the  class  may  see  the  joke,  and  if  no  one  in 
the  room  can  define  the  word,  the  teacher  explains 
that  it  is  a  little  wooden  doll. 

How  many  of  you  have  seen  the  Punch  and  Judy 
wooden  figures  ?  And  the  Jumping  Jacks  with  jerk- 
ing arms  and  legs  ?  Well,  one  of  these  has  probably 
lost  its  head  or  had  its  legs  broken  off  —  poor  little 
thing  !  And  all  the  other  little  wooden  dolls  are  going 
to  march  to  the  funeral.  Oh,  it's  very  sad  !  I 
wonder  how  such  a  march  is  made.  There  ought  to 
be  something  loud  at  first,  —  like  trumpets.  Why  ? 

"  To  call  them  all  together." 

Then  maybe  there  should  be  several  sad  chords. 
Why? 

"  To  put  the  little  mourners  in  a  sorrowful  mood." 

And  then  the  real  march  ought  to  begin.  Perhaps 
they  will  sort  of  jerk  along,  and  perhaps  one  little 
marionette  will  feel  so  badly  that  she  will  wail  out, 
"  Oh,  dear  me  !  " 

We  know  it  will  be  a  good  march  because  of  the 
name  after  it  —  Gounod.  He  was  one  of  the  best 
composers  that  France  has  produced. 


THE  ASSOCIATIVE  PERIOD  47 

Now  play  the  record,  which  will  be  received  enthu- 
siastically, and  which,  by  the  way,  will  warrant 
frequent  repetition. 

Among  other  marches  to  be  used  in  the  sixth 
grade,  are  suggested  : 

Soldiers'  Chorus  (Instrumental  Arrangement)  35227  (V) 

Pilgrims'  Chorus  (Instrumental  Arrangement)  A  5337  (C) ; 
31382  (V) 

Men  of  Yale.    16713  (V),  based  upon  college  songs. 

"Aida"— Grand  March.  A  5223  (C);  35265  (V),  accom- 
panied with  brief  story  of  war  four  thousand  years 
ago  between  the  Egyptians,  the  most  civilized 
people  of  Africa,  and  a  savage  tribe.  This  march 
is  played  when  the  captain  of  the  Egyptian  army 
returns  victorious,  bringing  with  him  the  captive 
Ethiopian  king  and  many  prisoners  taken  in  battle. 

(b)  Lullabies. 

It  is  desirable  to  continue  use  of  lullabies  in 
this  period,  since  in  the  adolescent  age,  when 
the  girl  has  put  away  her  dolls,  and  the  boy  no 
longer  sits  on  mother's  lap,  the  subject  will 
contain  no  interest  (except  in  idealized  form). 
It  is  regrettable  that  more  of  the  great  cradle 
songs  are  not  sung  in  English  and  in  compass 
suitable  for  children  to  follow. 

The  Little  Dustman.— Brahms       17556  (V)  (Appendix) 
Highland  Cradle  Song.  —  Schu- 
mann 17556  (V)  (Appendix) 


48  LISTENING  LESSONS  IN  MUSIC 

Lullaby. — Brahms 

(Cornet  Solo)  17417  (V) 

Cradle  Song.  —  Schubert  87214  (V) 
Rockin'  in  de  Win'.  — Neid- 

linger  A  1475  (C)  (Appendix) 

Rockin'  Time.  —  Knox  17918  (V)  (Appendix) 

Mammy's  Song.  —  Ware  17039(7)  (Appendix) 
Lullaby  from  "  Erminie  " 

S  3008  (C) ;  80113  (E) ;  17345  (V) 

III.  Pieces  Containing  the  Element  of  Sugges- 
tion or  Refined  Description. 

Pieces  which  are  purely  descriptive  should 
be  used  sparingly  after  the  Sensory  Period. 
This  style  of  composition,  in  addition  to  its 
artlessness,  is  too  simple  to  stimulate  mental 
effort  even  in  a  child.  Under  this  head  are  : 

(a)  Songs  based  upon  familiar  poems. 

(b)  Instrumental   pieces    related   to   suitable 
stories. 

(a)  Songs. 

The  Cuckoo  Clock.    17513  (V) 

Recite  poem.     (Appendix.) 

The  class  may  anticipate  musical  characteristics 
that  would  be  suited  to  the  words. 

What  kind  of  voice  should  truthfully  imitate  the 
cuckoo  ?  High  or  low  ? 

"  High." 

What  kind  of  instrument  should  play  the  accom- 
paniment —  one  making  long  or  short  tones  ? 

"Short." 


THE  ASSOCIATIVE  PERIOD  49 

Would  a  square-cut  tune,  like  a  march,  suit  the 
clock  idea  ? 

Would  a  dance  tune  be  suitable  ? 

Would  a  tune  having  scales  in  it  be  truthful  ? 

Many  relevant  questions  will  occur  to  each  teacher 
and  will  serve  to  create  interest,  —  in  fact,  will  make 
the  class  fairly  curious  to  hear  the  music. 

The  record  is  played  and  the  class  finds  that  the 
tune  is  not  only  simple  like  the  life  of  a  clock,  but 
goes  round  and  round  mechanically  like  the  wheels 
and  hands  of  a  clock.  All  have  heard  the  piano  and 
clappers  in  the  accompaniment. 

The  Hungry  Windmill.     17513  (V) 

Draw  from  the  class,  a  description  of  a  windmill 
and  the  way  in  which  it  works.  What  can  it  do  by 
working  ?  Show  picture  of  a  Dutch  windmill.  Re- 
cite poem.  (See  Appendix.) 

What  will  you  expect  to  hear  in  the  accompaniment  ? 

"  The  whirring  or  flapping  sound  of  the  mill." 

Though  not  strictly  in  the  class  with  the  preceding 
songs,  The  Four  Leaf  Clover  belongs  to  this  period  (or 
may  be  introduced  even  in  the  third  grade). 

Who  ever  found  a  four  leaf  clover  ?  (Most  of  the 
children  raise  hands  and  beam  at  the  happy  experi- 
ence.) 

What  did  you  think  when  you  found  it  ? 

"  Good  luck." 

Who  knows  a  poem  named  "  The  Four  Leaf 
Clover  "  ?  (It  is  in  the  list  for  memorizing,  in  some 
schools.) 

Have  some  one  in  the  class  recite  it,  if  possible; 
if  not,  the  class  may  repeat  it  phrase-method  after 
the  teacher.  (Appendix.) 


SO  LISTENING  LESSONS  IN  MUSIC 

Some  one  wrote  music  to  go  with  these  words  and 
it  became  a  song. 

What  kind  of  tune  should  it  be,  pretty  or  ugly  ? 

Would  you  expect  any  harsh-sounding  chords  in 
the  accompaniment  ? 

Play  record  64139  (V). 

Write  on  the  board  :   "  Music  must  be  truthful." 

Explain  that  one  requirement  of  a  good  song  is  that 
words  and  music  must  express  the  same  idea. 

(b)  Instrumental  compositions  based  upon 
story  or  title. 

Judgment  must  be  exercised  in  selecting 
material  for  this  class,  as  much  of  it  contains 
coarse  or  commonplace  features. 

Write  upon  the  board  : 

1  Dance  of  the  Trolls.  —  Grieg. 

Have  class  anticipate  character  of  the  music. 
There  is  no  doubt  as  to  the  significance  of  a  dance. 
Ideas  concerning  a  troll  are  crystallized  as  follows  : 

A  tiny  dwarf  something  like  a  brownie,  but  more 
ugly.  He  has  brown,  wrinkled  skin,  pointed  ears, 
long  hooked  nose,  crooked  back,  bowlegs,  and  an  ugly 
disposition  —  finding  his  greatest  pleasure  in  tor- 
menting people. 

What  kind  of  tune  should  represent  the  troll, 
pretty  or  ugly  ? 

"  Ugly." 

Should  the  tune  be  long  or  short  ? 

"  Short,  because  the  troll  is  so  little." 

But  the  piece  is  long;  how  shall  a  long  piece  be 
made  from  a  little  tune  ? 

1  Catalogue  title,  "  Hall  of  the  Mountain  King." 


THE  ASSOCIATIVE  PERIOD  51 

"  By  repeating  it  over  and  over." 

The  teacher  may  supply  the  dramatic  background 
for  the  composition  as  follows  : 

In  Norway  lived  a  character  like  our  Rip  Van 
Winkle.  His  name  was  Peer  Gynt.  (Write  on  board.) 
One  night  he  wandered  off  to  the  mountains  and  was 
tormented  by  these  little  imps  who  circled  around 
him  in  a  wild  and  exciting  dance.  There  are  no 
words  to  the  music,  but  the  language  of  tones  will 
tell  this  story. 

After  playing  record  4351  (V),  write  on  the  board  : 
"  Music  must  be  truthful ;  music  may  be  beautiful." 

Ask  the  class  :     Was  it  truthful  ? 

"  Yes." 

Was  it  beautiful  ? 

"  No." 

Was  it  good  music  ? 

"  Yes." 

The  teacher  makes  analogy  to  a  person  who  is 
homely,  but  good  and  true. 

Impress  upon  the  class  the  fact  that  Grieg  was  the 
greatest  composer  of  Norway. 

Write  on  blackboard : 
Narcissus. 

Ask  class  for  its  meaning.  (The  story  is  in  supple- 
mentary reading  for  fifth  grade  in  some  schools.) 

One  will  say  it  is  a  "  flower " ;  another  "  a 
shepherd  boy  " ;  finally  this  story  will  be  drawn 
from  the  class : 

A  beautiful  lad  named  Narcissus,  son  of  a  water 
nymph  and  a  river  god,  loved  to  be  near  the  water. 
He  saw  his  face  mirrored  in  the  stream,  became  vain, 
and  was  changed  into  a  beautiful  water  flower  retain- 
ing the  name  Narcissus.  The  plant  thrives  on  the 


52  LISTENING  LESSONS  IN  MUSIC 

banks  of  a  stream,  and  the  delicate  white  flower  nods 
its  head  over  to  face  the  water. 

Is  this  a  true  story  ? 

"  No." 

What  kind  is  it  ? 

"  A  myth." 

Where  do  we  get  it  ? 

"  From  the  Greeks." 

Did  they  believe  it  ? 

"  Yes,  it  was  part  of  their  religion." 

The  teacher  may  write  on  the  board  Ethelbert 
Nevin,  telling  the  class  that  this  man,  an  American 
composer,  has  told  this  story  in  the  language  of  tones. 

There  are  but  two  ideas  in  the  story :  first,  the 
youth  (who  is  changed  into  a  flower) ;  and  second, 
the  transformation  or  changing  process.  The  musi- 
cal design  is  worked  out  in  the  following  manner : 

A  pretty  and  simple  tune  represents  the  attractive 
young  boy.  Had  he  been  homely,  the  tune  would 
have  been  homely,  and  had  he  been  more  mature,  the 
tune  would  have  been  less  simple. 

To  represent  the  changing  process,  a  second  little 
tune  starts  but  never  seems  finished,  going  from  one 
key  to  another,  and  another,  and  another.  There 
are  also  several  chords  which  do  not  sound  just  right 
and  of  course  should  not  until  the  change  is  com- 
pleted. The  piece  closes  with  the  same  pretty  tune 
heard  in  the  beginning,  but  now  it  expresses  the 
beauty  of  the  flower. 

Notice  how  the  tune  nods,  first  as  the  boy,  and 
then  as  the  flower  bends  toward  the  water.  The 
class  may  sing,  or  whistle,  the  tune  with  the 
record. 

Play  16029  (V) ;   or  S  3009  (C). 

At  the  close  of  this  first  presentation,  some  further 
thought  may  be  added,  as  : 


THE  ASSOCIATIVE  PERIOD  53 

The  piece  is  so  short.     Why  ? 

"  The  story  is  short." 

But  suppose  Mr.  Nevin  had  made  it  longer,  and 
ornamented  it  somewhat  by  the  addition  of  some 
pretty  chords  and  scales  and  another  little  tune  ? 

The  class  frowns  at  the  suggestion,  and  the  lesson 
is  impressed  that  good  and  abiding  art  must  be  truth- 
ful as  well  as  beautiful ;  and  also,  that  a  composer 
can  have  a  design  back  of  his  music. 

Write  on  the  board  : 

The  Butterfly  (introduced  in  fifth  grade). 

Anticipate  its  general  character. 

Will  the  music  be  high  or  low  ? 

"  High." 

Should  it  be  played  by  a  heavy-  or  a  light-toned 
instrument  ? 

"  Light." 

Which  would  express  the  subject  most  suitably ;  a 
horn,  or  a  bass  viol,  or  a  flute  ? 

"  Flute." 

Should  it  be  fast  or  slow  ? 

"  Fast." 

Play  83011  (C);  3134?  (V);  or  60033  (V). 

Draw  from  the  class  a  description  of  the  closing 
measures  (in  which  the  graceful  insect  flutters  and 
gradually  settles  to  rest). 

Write  on  the  board  : 

Barcarolle  (introduced  in  fifth  grade). 

Draw  from  class  as  far  as  possible  the  derivation 
of  the  word  (literally  "  rolling  boat,"  bare  signifying 
little  boat). 

A  barcarolle  is  a  boat  song. 


54  LISTENING  LESSONS  IN  MUSIC 

There  are  ever  so  many  barcarolles  just  as  there 
are  many  marches.  The  idea  first  came  from  the 
beautiful  old  Italian  city  where  the  streets  are  of 
water.  Yes,  Venice. 

All  barcarolles  have  two  points  in  common, 
namely ;  the  tune  must  be  pretty  since  the  composi- 
tion is  for  pleasure,  and  the  music  underlying  the 
tune  must  represent  the  motion  of  the  boat  with  the 
sound  of  the  water  against  the  sides  of  the  boat. 

Play  5754  (V),  having  the  class  sing  or  whistle  with 
the  record. 

Subsequent  playing  may  bring  out  association  of 
the  boat  which  is  peculiar  to  Venice  (gondola)  and  the 
boatman  who  stands  with  pole  and  steers  through 
the  canals  (gondolier)  and  also,  the  custom  of  singing 
on  the  water. 

The  following  lesson  on  Song  Birds  and  Bird 
Songs  is  recommended  in  illustration  of  the  steps 
made  from  the  descriptive  to  the  suggestive,  and 
thence  to  the  highly  artistic  compositions. 

Beginning  with  fourth  grade  use  record  55049  (V) 
in  which  Charles  Kellogg  tells  something  about 
different  birds  and  illustrates  the  singing  of 
twenty  native  songsters.  The  teacher  should  be 
provided  with  pictures  of  the  different  types, 
and  a  child  may  show  them  while  the  teacher 
writes  the  names  on  the  board  as  the  record  is 
played. 

As  a  variant  may  be  used  record  17735  (V)  in 
which  Charles  Gorst  faithfully  reproduces  calls  of 
well-known  birds. 


THE  ASSOCIATIVE  PERIOD  5fJ 

There  are  also  songs  about  birds. 

With  record  17686  (V)  at  hand,  recite  the  words  of 
"The  Woodpecker,"  "Robin  Redbreast,"  "The 
Owl,"  "The  Bobolink"  (from  "Songs  of  Child 
World,"  Riley-Gaynor),  playing  each  song  after  the 
words  are  given. 

Ask  :   Who  has  seen  the  swallows  ? 

Where  do  they  like  to  nest  ? 

Listen  to  a  song  called  "  The  Swallows  "  in  which 
the  little  birds  built  near  a  lady's  window. 

Recite  the  poem  (Appendix). 

What  kind  of  voice  should  sing  songs  about 
birds  :  —  high  or  low  ? 

Play  64392  (V). 

Beginning  with  the  sixth  grade  use  the  classic, 
Hark!  Hark!  the  Lark,  64218  (V). 

Recite  the  words  thoughtfully,  developing  the  poetic 
value  of  the  text  and  the  significance  of  the  morning 
serenade  (use  first  stanza  only). 

A  suitable  song  in  which  the  human  voice  imitates 
the  song  of  the  lark,  is  in  the  Bishop  composition 
Lo,  Here  the  Gentle  Lark !  (for  commentary,  see 
page  162). 

Close  the  lesson  with  the  exquisite  art  song,  Joy 
of  the  Morning,  in  which  Harriet  Ware  has  caught 
the  rhythmical  charm  of  Edwin  Markham's  poem. 
(See  Appendix.) 

Play  17693  (V). 

IV.    Medleys. 

Quick  recognition  of  familiar  compositions 
in  medley  form  will  make  a  class  alert.  The 
use  of  a  few  good  medleys  may  be  continued 
until  every  child  knows  every  tune. 


56  LISTENING  LESSONS  IN  MUSIC 

Write  on  the  board  : 

"  Medley." 

What  does  it  mean  ? 

"  One  long  piece  made  of  several  tunes." 

The  teacher  makes  a  bracket  after  the  word,  and 
says  she  will  write  the  names  of  the  different  pieces 
only  as  the  class  recognizes  them. 

Play  16819  (V). 

The  class  may  sing  with  "  Swanee  River  "  and 
"  Old  Black  Joe."  The  second  number  is  a  negro 
jig,  widely  familiar,  and  with  the  ridiculous  name 
"  Turkey  in  the  Straw." 

In  the  same  manner  use  : 

Medley  31510    (V).      (Lessen   the   speed   indicator.) 
This  medley  contains  nine  numbers,  as  follows  : 

"Arkansas  Traveler," 

"  Annie  Laurie," 

"Dixie," 

"The  Girl  I  Left  Behind  Me," 

"Auld  Lang  Syne," 

"  Swanee  River," 

"  Sailor's  Hornpipe," 

"  Marching  Through  Georgia," 

"  Yankee  Doodle." 

Average  children  in  the  fourth  grade  will  recognize 
at  first  hearing  all  but  the  first,  fourth,  and  seventh 
—  which  may  be  told.  Subsequent  playing  of  the 
record  will  familiarize  all  the  children  with  these  well- 
known  tunes.  As  the  tempo  is  rapid,  the  children 
must  think  quickly,  and  it  may  be  used  occasionally 
from  the  fourth  through  the  eighth  grades  to  make  a 
class  more  alert. 


THE  ASSOCIATIVE  PERIOD  57 

Songs  of  America.    31854  (V) 

This  record  contains  seven  familiar  airs  with  words 
and  should  be  used  frequently  in  schools  having  much 
of  the  foreign  element. 

The  following  additional  medleys  are  of  value : 

Medley  of  Patriotic  Airs  A  1685  (C) 

Medley  of  Folk  Songs  A  5461  (C) 

Overture  on  National  Airs        A  1156  (C) 
Medley  of  American  Patriotic 
Airs  and  War  Songs  50212  (E) 

V.  Familiarity  with  Artistic  Compositions 
Gained  through  Method  of  Singing  the  Subject 
Phrase.  Encouragement  of  the  Singing  Habit. 

There  are  many  short,  artistic  compositions 
which  live  because  of  their  immortal  melodies. 
The  recognition  of  such  forms  part  of  one's 
education.  Not  only  will  they  be  enjoyed  at 
this  age,  but  will  be  retained  in  memory  better 
than  if  left  until  a  more  complex  period  of  life. 
These  compositions  cannot  be  sung  in  their 
entirety,  but  the  children  may  sing  the  subject 
phrase  (the  short  tune  at  the  beginning  which 
identifies  the  piece)  as  evidence  of  having  re- 
ceived definite  impression. 

Music  must  make  a  definite  impression  in 
order  to  become  one's  personal  possession.  An 
easy  method  is  to  sing  (or  whistle)  the  tune 
with  the  record.  With  the  first  rounds  of  a 


58  LISTENING  LESSONS  IN  MUSIC 

simple  composition  the  class  may  softly  hum 
the  tune,  gradually  changing  to  la,  keeping  with 
the  record  without  the  aid  of  teacher. 

Through  audible  expression  a  piece  becomes 
one's  own,  and  the  pupil  is  able  to  recall  the 
composition  more  easily,  having  sung  a  bit  of  it. 
The  tune  should  be  associated  with  the  title  in 
the  child's  mind  as  one  couples  the  name  and 
face  of  an  individual.  When  a  class  has  learned 
several  tunes  in  this  way  there  may  be  a  mem- 
ory lesson,  or  "  quiz."  Write  on  the  board  the 
name  of  a  piece  and  ask  who  can  sing  the 
subject  or  first  phrase.  Often  several  attempts 
are  made  before  the  right  one  is  recalled.  The 
class  will  shake  their  heads  at  the  wrong  tunes 
and  concentrate  keenly  to  think  of  the  right  one. 
The  effort,  however,  is  most  enjoyable  and  a 
class  will  fairly  beg  the  teacher  for  a  memory 
lesson.  The  method  of  procedure  may  be 
reversed,  by  the  teacher's  playing  a  few  revolu- 
tions of  a  record  and  having  the  class  identify  it. 
In  a  short  time  children  become  keen  in  recog- 
nition of  melodies.  They  try  to  remember  them 
for  they  expect  to  sing  them,  and  almost  uncon- 
sciously they  become  familiar  with  good  music. 

It  is  desirable  to  have  a  singing  public,  and 
one  means  to  this  end  is  to  have  children  at 
this  impressionable  period  sing  or  whistle  every 


THE  ASSOCIATIVE  PERIOD  59 

tune  possible.  This  practice  will  also  sharpen 
the  sense  of  hearing  —  which,  alas  !  is  not  well 
developed  through  our  complex  civilization. 

There  are  several  methods  by  which  these 
lessons  may  be  presented,  as  : 

(1)  Through    use    of    syllable    la,    the    class 
following  the  record  as  it  is  played. 

(2)  By  the  teacher's  writing  the  musical  nota- 
tion of  the  subject  phrase  upon  the  board  for 
class  identification. 

(3)  By  the  teacher's  writing  syllable  notation 
of  the  subject  phrase  upon  the  board  for  class 
identification. 

(The  last  method  has  the  advantage  of  being 
used  more  rapidly  than  musical  notation,  and 
of  visualizing  the  tune  —  impossible  with  la.) 

Briefly  illustrative  is  the  following : 

The  teacher  writes  on  the  board  the  syllables  of 
the  first  phrase  or  couplet,  and  the  class  sings  : 

so.  so  so.  mi  |  re.  do  re.  mi  |  so.  so  /a.  so  |  do  -  - 

At  any  subsequent  time  these  syllables  placed  on 
the  board  must  suggest  the  tune,  and  will  have  more 
musical  significance  than  merely  the  words  "  Comin* 
through  the  Rye."  It  is  just  one  way  of  having 
children  think  musically  of  a  composition  and  is  a 
contributing  factor  in  making  a  singing  public. 

A  partial  list  from  which  the  fifth  and  sixth 
grades  should  be  able  to  name  and  "sing  the  sub- 


60  LISTENING  LESSONS  IN  MUSIC 

ject  "  and  a  more  detailed  method  of  presenting 
such  lessons,  follows : 

The  teacher  asks :  Mary,  did  you  ever  know  any 
one  who  could  sing  or  whistle  new  tunes  heard  at  a 
concert  ?  Can  you,  John  ?  Can  you,  Henry  ? 
Would  you  like  to  recall  tunes  ? 

The  teacher  writes  on  board  : 

50  -  fi_so  I  50  -  /i  so  I  do  -  ft'  do  \  so  -  -  \  fa  -  mi  re  \  mi- 
re ~  \  do  -  ti  la  |  ti  -  la  -  \ 

2 

Class    sings    and    repeats    (Key   F)  -'  measure ; 

4 
moderato. 

Play  record  16516  (V),  Cello  Solo;  A  5649  (C), 
Cello. 

Write  on  board  :   Melody  in  F.  —  Rubinstein. 
Teacher  writes : 

mi .  fa fi so  \do-so -fa- mi-  \  re fa-\  la 

Class  sings  (Key  F)  -  measure ;   allegro. 

Play  record  16516  (V),  Cello;  A  1304  (C),  Orchestra  ; 
80097  (E),  Strings. 

Write  on  board  Spring  Song.  —  Mendelssohn. 

Teacher  writes : 

so  -  |  do  -  -.  ti  do  mi  \  so  do  do  -  -  ti  la  \  so  do  re  mi  fa 
la  do  re  \  mi  so  re  -  - 

Class    sings    and   repeats    (Key    F)     -  measure; 

4 
andante. 


THE  ASSOCIATIVE  PERIOD  6l 

Play  record  17272  (V),  Cornet  Solo;  A  5679  (C), 
Cello;  80071  (E),  Cello. 

Write  on  board  :  Traumerei.  —  Schumann. 

Draw  significance  of  the  title  from  some  German 
pupil  who  will  translate  the  first  syllable  of  the  word. 

Teacher  writes  : 

mi  -  |  so_ la_-  \do to  -  |  tf  -  re  -  la_-  ti_-  - 

re  -  |  50  

Class    sings    and    repeats    (Key    G)   -  measure; 

o 

allegro. 

Teacher  asks  who  can  write  the  name  (Narcissus) 
of  this  piece  on  the  board  (since  it  has  been  heard  in  a 
former  lesson)  and  requires  class  to  think  it  out. 

Teacher  writes  : 

mi  -  -  fa  -  fa  -  -  mi  -  [  mi  -  re  -  fa  -  fa  -  -  mi  -  |  mi  - 
re  -fa-  fa  -  -  mi  -  \  mi  -  -  -  mi 

Class  sings  (Key  E)  ^  measure ;   allegro, 
o 

Play  record  5754  (V),  String  Quartet;  S  7511  (C), 
Orchestra. 

Write  on  board  :  Barcarolle,  "Tales  of  Hoffmann." 
—  Offenbach. 

Teacher  draws  out  significance  of  title  and  truth- 
fulness of  the  music  to  the  rolling  of  the  boat. 

In  like  manner,  many  others  should  be  learned. 

Humoresque.  —  Dvorak.      17454    (V);    A    5412    (C); 

82047  (E) 

Minuet  in  G.  —  Beethoven.    64121  (V) ;  A  1199  (C) 
Minuet.  —  Mozart.    35060  (V) 
Songs  Without  Words.  —  Mendelssohn.    17805  (V) 


62  LISTENING  LESSONS  IN  MUSIC 

Pilgrims'  Chorus— "  Tannhauser."   17563  (V) ;  A  5337  (C) 
Intermezzo.  —  "  Cavalleria    Rusticana. "        4184    (V) ; 

A  5159  (C) 

Cradle  Song.  —  Brahms.    17417  (V) ;  A  1304  (C) 
Cradle  Song.  —  Schubert.    87214  (V) 
Largo.  —  Handel.     16525  (V) ;  A  5649  (C) ;  50053  (E) 

From  such  compositions  it  is  not  hard  to  ad- 
vance in  the  seventh  and  eighth  grades,  to  the 
themes  which  characterize  the  "  Andante "  of 
Beethoven's  "Fifth  Symphony"  and  the 
"  Largo  "  of  Dvorak's  "New  World  Symphony." 

VI.    Harmony. 

A  lesson  making  clear  the  principle  of  har- 
mony should  be  presented  in  the  sixth  grade, 
after  two-voice  singing  has  become  established. 

This  may  be  done  by  telling  a  brief  story 
about  the  origin  of  music  (adapted  from  Mac- 
Dowell's  "  Critical  and  Historical  Essays," 
Chapter  One).  Closely  associated  will  be  a 
further  study  of  tone  quality  through  voices 
and  musical  instruments. 

The  lecture  plan  of  teaching  is  not  feasible 
in  the  lower  grades,  so  when  one  has  consider- 
able material  to  bring  to  a  class,  it  is  well  to 
create  interest  by  asking  startling  but  relevant 
questions.  Each  teacher  will  show  her  own 
ingenuity  along  this  line,  but  for  the  sake  of 
illustration,  this  lesson  is  presented. 


THE  ASSOCIATIVE  PERIOD  63 

The  class  may  name  all  the  things  it  can  think  of 
in  a  piece  of  music. 

The  teacher  writes  the  answers  on  the  board. 
They  have  no  order,  and  some  of  them  no  close 
relevancy. 

"  Time,"  "  Tune,"  "  Sounds,"  "  Melody," 
"  Rhythm,"  "  Notes,"  "  Tones,"  "  Harmony." 
Some  boy  may  think  it  clever  to  say  "  Noise,"  — 
if  so,  give  it  a  place  on  the  board. 

The  teacher  audibly  wonders  how  all  of  these  things 
started,  and  offers  to  tell  a  story. 

It  begins  long  ago  when  there  were  only  savages ; 
but  even  they  wanted  to  do  some  things  in  an  orderly 
way,  and  some  one  made  a  kind  of  drum,  and  as  he 
beat  upon  it  the  others  would  march  and  keep  step. 
There  was  just  one  tone,  but  it  was  measured  off  at 
regular  intervals,  rap-tap-tap-tap,  and  that  gave  music 
a  beginning.  What  do  we  call  it  ?  "  Time,"  says  one. 
No,  guess  again.  "  Rhythm,"  says  another,  and  the 
word  is  accepted. 

What  is  the  little  thing  in  the  wrist  that  goes 
"  thump,  thump,  thump  "  ?  "  Pulse  beat,"  says  a 
child. 

Do  we  have  to  have  it  ?  How  long  will  it  keep 
going  ? 

"  As  long  as  we  live." 

Then  it  means  life,  and  it  is  the  same  in  music. 
Neither  a  person  nor  music  could  live  without  it. 
The  Rhythm  is  the  pulse  beat  in  music,  the  life 
principle.  (Write  on  board.) 

Some  one  has  also  defined  it  as  "  measured  mo- 
tion." 

Let's  see,  we  were  talking  about  the  savage  who 
made  a  drum.  After  a  while  another  savage  made  a 
kind  of  whistle.  Maybe  he  made  it  out  of  a  little 
branch  of  a  tree  (you  boys  know  how  to  make  this 


64  LISTENING  LESSONS  IN  MUSIC 

kind  of  whistle,  don't  you  ?)  and,  supposing  he  made 
three  notches  in  the  bark  with  a  hollow  space  on  the 
inside,  he  might  play  a  tune.  Could  a  tune  be  made 
out  of  three  tones  ?  On  the  board  is  written : 

do  -  do  -  re  -  mi  -  \  do  -  mi  -  re  -  - 

Children  sing  it  and  are  little  short  of  ecstatic  in 
learning  how  "  Yankee  Doodle  "  is  made. 

What  is  another  name  for  tune  ? 

"  Melody.'^ 

It's  really  just  one  tone  after  the  other,  isn't  it  ? 
If  two  or  three  tones  were  sounded  at  the  same  time, 
would  it  be  a  melody  ? 

"  No." 

On  the  board  is  written : 

"  Melody  is  a  succession  of  single  tones,  pleasing  to 
the  ear." 

After  a  time,  some  one  stretched  several  strings 
across  some  sort  of  frame  and  plucked  two  or  more 
of  them  at  the  same  time.  That  gave  us  the  princi- 
ple of  Harmony,  which  is  : 

"  A  pleasing  combination  of  musical  tones  sounded 
at  the  same  time."  (Write  on  board.) 

Pointing  to  the  word  "  Time  "  (which  was  written 
earlier  in  the  lesson)  a  distinction  is  made  from 
rhythm : 

"  Time  is  the  speed  (or  rate)  of  the  rhythm." 

Part  of  a  familiar  record  of  a  vocal  solo  is  played. 

Was  there  any  harmony  in  the  piece  ? 
'  Yes,  in  the  accompaniment." 

We  agree  that  the  song  sounded  better  because  of 
the  harmony  and  that  it  would  have  seemed  "  thin  " 
without  other  tones. 

With  this  introduction  the  children  are  expected 
ever  afterwards  to  listen  for  something  besides  the 


THE  ASSOCIATIVE  PERIOD  65 

tune  and  to  speak  of  the  harmonic  element  in  every 
record. 

At  the  close  of  this  explanatory  lesson  the  board 
work  has  this  arrangement : 

Rhythm    ....     pulsation    (or    measured    mo- 
tion) 

Melody  (or  tune)    .     succession  of  single  tones  pleas- 
ing to  the  ear. 

Harmony       ...     an  agreement  of  several  tones 

sounded  at  the  same  time 

Time speed  of  the  rhythm 

Notes        ....     tone  characters 
Tones        ....     fixed  musical  sounds 
Musical  Sounds      .     regular  vibrations  of  air 

Noise irregular     vibrations     of     air 

(which   may   be   briefly  ex- 
plained). 

What  was  it  the  savages  thought  most  of  in  their 
music  ? 

"  Rhythm." 

What  seemed  most  important  to  the  people  who 
started  the  folk  songs  ? 

"  The  tune." 

What  is  the  highest  development  and  the  hardest 
to  understand  ? 

"  Harmony." 

Yes,  and  often  one  must  hear  the  same  piece 
several  times  before  he  can  distinguish  clear  harmony. 

Listen  to  some  Indian  music.  What  would  you 
expect  to  be  most  pronounced  in  this  primitive 
music,  —  rhythm,  melody,  or  harmony  ? 

"  Rhythm." 

Play  record  70049  (V)  Dagger  Dance  —  "  Natoma  " 
(play  part  only). 


66  LISTENING  LESSONS  IN  MUSIC 

Listen  to  another  piece  in  which  the  three  prin- 
ciples are  all  clearly  expressed  and  in  better  re- 
lationship. Notice  the  pulse  beat  which  is  heard 
throughout;  and  the  simple  melody  —  given  first  by 
a  single  voice,  then  the  full  harmony,  through  many 
voices  in  chorus,  and  in  orchestral  accompaniment. 

Write  on  the  board  : 

Sanctus  from  Gounod's  "Messe  Solennelle." 

This  is  a  religious  piece.  The  words  are  :  "  Holy, 
holy,  holy,  Lord  God  Almighty,  Heaven  and  earth 
are  full  of  Thy  glory.  Hosanna  in  the  highest." 

Play  record  351 10  (V) ;   A  5338  (C). 

(The  teacher  may  distinguish  rhythm,  mel- 
ody, and  harmony  through  other  records,  ad 
libitum?) 

VII.  Form. 

Before  this  time  certain  observations  have 
been  made  about  repetition  of  the  phrase,  but 
there  has  been  no  extended  presentation  of  the 
subject. 

The  following  serious  lesson  on  Form  may  be 
given  in  the  sixth  grade  : 

Introduce  the  subject  by  asking : 

What  is  an  idea  ? 

Various  definitions  will  be  offered  of  which  "  a 
mental  picture  "  will  suffice. 

How  may  an  idea  be  expressed  ? 

"  Through  words,  written  or  spoken."  "  Through 
colors  as  in  a  picture." 


THE  ASSOCIATIVE  PERIOD  67 

Could  a  statue  also  express  an  idea  ?  Could  there 
be  ideas  in  music  ? 

"  Yes." 

How  many  tones  will  be  necessary  to  express  a 
musical  idea  ? 

(No  answer.) 

Write  on  board : 

la  -  mi  -  (class  sings). 

Write  underneath  the  syllables  the  words  "  Ah 
me  !  "  Is  it  an  idea  ? 

"  Yes." 

Define :  "  A  musical  idea  is  the  smallest  number 
of  tones  giving  complete  sense."  Sometimes  a 
musical  idea  and  a  musical  phrase  are  synonymous, 
but  not  always. 

Write  on  the  board  : 

do  -  do  -  re  -  |  tf  -.  do  re- 

Class  sings,  and  recognizes  the  subject-phrase  of 
"  America." 

Write  on  board : 

do  - 1  do  -  mi  -  so  - 1  so 

Class  sings  in  rapid  tempo  and  several  have  hands 
up  to  announce  "  Blue  Danube  Waltz." 

Play  record  A  5189  (C) ;  80048  (E) ;  16391  (V), 
telling  the  class  to  count  the  number  of  times  the 
little  subject  phrase  of  five  tones  is  repeated.  (Play 
only  to  close  of  first  waltz.) 

Question  various  members  of  the  class  : 

How  many  times  did  you  hear  the  little  phrase  ? 

"  Five,"  "  Three,"  "  Seven,"  "  Eight,"  "  Two.'] 

Somebody  must  be  wrong.     You  may  count  again. 

(Play.) 


68  LISTENING  LESSONS  IN  MUSIC 

Almost  every  one  now  hears  seven  repetitions  of  the 
phrase  and  has  gained  his  first  experience  in  follow- 
ing the  course  of  a  phrase. 

Was  the  phrase  expressed  always  the  same  way  ? 
How  was  it  varied  ? 

"  Sometimes  higher  or  lower  than  the  first  one." 

Was  it  ever  in  the  minor  (beginning  on  la)  ? 

"  Yes,  the  last  time." 

It  was  varied,  but  the  identity  was  never  lost. 
That  is  a  characteristic  of  a  good  composition. 

Was  there  more  than  one  idea  in  this  waltz  ? 

"  No." 

The  class  may  listen  to  another  record  and  find 
how  many  ideas  it  contains.  The  first  phrase  or 
idea  in  a  place  may  be  designated  A ;  the  second,  B  ; 
the  third,  C ;  and  so  on. 

Play  Amaryllis,  16474  (V). 

As  the  record  is  being  played,  evolve  this  diagram 
upon  the  board : 

AAAA 

BB 

AAAA 

CCCC 

B  B 

CC 

AAAA 

Follow  with  commentary,  as  : 

The  balance  and  proportions  of  the  phrases  may 
here  be  likened  to  lines  of  poetry.  A  tone  too  many 
or  too  few  would  jar  the  rhythmic  sense  as  would  an 
additional  syllable  in  poetic  verse.  Three  musical 
phrases  are  clearly  stated  without  any  embellishment 
or  elaboration.  The  first  phrase  also  closes  the 
composition,  thus  giving  a  sense  of  unity.  The  same 


THE  ASSOCIATIVE  PERIOD  69 

phrase  appears  also  in  the  midst  of  the  composition, 
making  it  hold  together.  Two  other  ideas  occur, 
however,  to  furnish  variety. 

The  two  points,  unity  and  variety,  are  essential  in 
all  musical  design. 

(For  further  remarks  on  Form,  see  Appendix.) 

This  composition  is  an  old  French  "  rondo." 
(Board.) 

The  rondo  is  a  form  in  which  one  prominent  theme 
(A)  reappears  in  alternation  with  other  contrasting 
themes  (B  and  C),  the  piece  always  closing  with  the 
opening  theme.  This  particular  rondo  has  a  romantic 
history,  having  been  composed  by  a  favorite  musi- 
cian at  the  court  of  Henry  III,  and  first  performed  at 
the  wedding  of  his  daughter  Margaret  in  1581.  It 
was  called  "  Amaryllis,"  following  a  custom  of  the 
sixteenth  century  to  give  a  lady  some  pastoral  name, 
and  under  such  title  to  dedicate  to  her  music  or 
poetry  as  a  mark  of  chivalry. 

Play  All  Through  the  Night. 

A  child  at  the  board  may  letter  the  phrases  as  they 
are  heard  (A  A  B  A). 

Did  the  phrase  A  sound  always  the  same  ? 
"  Yes." 

Play  Swanee  River. 

Have  the  diagram  also  placed  on  the  board 
(A  A  B  A). 

Did  the  phrase  A  sound  always  the  same  ? 

"Yes." 

Listen  again,  and  more  closely,  to  the  ending  of 
phrase  A. 

Was  it  the  same  ? 

"  No." 

How  was  it  varied  ? 


70  LISTENING  LESSONS  IN  MUSIC 

"  The  first  ending  of  A  '  went  up,'  and  the  second 
and  third  '  went  down  '." 

The  end  of  a  phrase  is  called  a  cadence  (board),  and 
one  speaks  of  the  rising  and  falling  cadence. 

Play  Blue  Bells  of  Scotland. 

Diagram :   (A  A  B  A) 

Describe  the  cadence  of  phrase  A. 

"  It  always  falls." 

It  is  like  what  other  piece  we  have  had  recently  ? 

"  All  Through  the  Night." 

Lessons  upon  resemblance  and  variety  of  the 
phrase  may  be  drawn  from  any  simple  composition 
(either  through  phonograph  record  or  textbook), 
and  are  not  only  of  absorbing  interest  to  a  class, 
but  of  immeasurable  value  in  teaching  the  art  of 
listening. 

VIII.  First  Lessons  in   History  of  Music. 

In  this  grade  children  know  more  about  their 
own  country  than  any  other  and  lessons  on 
Indian  and  negro  music  are  suitable.  Pre- 
liminary to  these  subjects  is  a  lesson  on  the  five- 
tone  scale. 

Brief  comment  upon  lives  and  works  of  com- 
posers should  begin  in  the  sixth  grade,  such 
being  related  to  each  record  presented.  Prior 
to  this,  incoherent  ideas  about  the  history  of 
music  and  about  biography  have  been  gained 
through  folk  tunes  and  other  primitive  music, 
through  comment  upon  the  five-tone  scale,  and 
by  occasional  and  minor  incidents  associated 


THE  ASSOCIATIVE  PERIOD  71 

with  certain  pieces.  Interest  however,  has  been 
secondary,  and  should  not  be  emphasized  until 
geography  and  history  lessons  have  aroused 
definite  interest  in  places  and  human  achieve- 
ments. Supplemental  reading  on  the  composers 
will  be  natural  at  this  age.  Beginning  with 
the  fifth  grade,  however,  the  composer's  name 
should  be  associated  with  his  work.  At  first, 
use  some  special  means  of  impressing  the  name 
upon  the  children.  Say  it  slowly :  "  Brahms  "  ; 
have  them  repeat  it ;  ask  if  any  of  them  ever 
heard  of  anybody  else  named  "  Brahms." 
Write  it  on  the  blackboard  and  let  it  remain 
for  a  time. 

(a)  Five-tone  scale.     (Sixth  grade.) 

The  class  may  tell  three  things  relating  to  the 
rhythm,  melody,  and  general  character  of  the  Indian 
piece,  Dagger  Dance  from  "  Natoma  "  which  has 
been  heard  before. 

Half  the  record  70049  (V),  is  played,  children  fol- 
lowing the  melody  with  la.  Hands  come  up  and 
children  are  eager  to  tell  of  the  marked  accent  which 
they  still  insist  upon  calling  "  jerky." 

What  about  the  tune  ? 

"  It's  the  same  thing  all  the  time." 

Yes,  just  a  little  short  tune  (or  phrase)  which  is 
repeated  over  and  over.  That's  the  way  the  early 
music  was  made.  You  see  people  had  no  way  of 
writing  music  and  could  not  remember  a  long  tune. 
"  Frequent  repetition  of  the  phrase  "  goes  on  the 
board. 


72  LISTENING  LESSONS  IN  MUSIC 

Tell  something  else  about  the  tune. 

Usually  the  answer  is  given  at  the  first  hearing; 
but  if  not,  the  children  should  listen  again,  for  they 
must  learn  to  discover  things  for  themselves.  The 
third  point  is  gained  when  some  one  says  : 

"  It's  a  kind  of  minor;   it  ends  on  la." 

This  is  the  opportunity  to  say  something  about 
scales. 

How  many  tones  in  our  scale  ? 

"  Eight." 

You  may  name  them,  John. 

"  Do,  re,  mi,  etc." 

But  you  said  do  twice. 

Our  scale  is  called  a  "  seven-tone  scale." 

There  are  different  kinds  of  scales  used  by  other 
people.  Some  have  only  five  tones.  The  Indians 
and  old-time  negroes,  and  the  Chinese,  and  Japanese, 
and  others,  have  never  had  but  five.  Their  music 
usually  sounds  peculiar  to  our  ears  because  we  have 
learned  to  like  music  based  on  the  seven-tone  scale. 

The  five-tone  scale  is  the  one  used  by  the  earliest 
people.  This  scale  has  neither  fourth  nor  seventh 
tones,  i.e.  neither  fa  nor  ti. 

Class  may  sing  it : 

La,  do,  re,  mi,  so,  la, 

and  descending. 

The  class  may  sing  Auld  Lang  Syne  by  syllable, 
and  find  if  it  contains  fa  or  ti  (key  of  F  on  pitch 
pipe). 

so_-  \  do  -.  do  do  -  mi  -  \  re  -.  do  re  -  ,  etc. 

What  kind  of  song  is  "  Auld  Lang  Syne  "  ? 
"  An  old  Scotch  folk  song." 

The  old-time  Irish  used  that  same  scale,  too. 
Sing  this  little  tune  (pitch  pipe,  key  of  E)  : 


THE  ASSOCIATIVE  PERIOD  73 

do  re  |  mi  so  so  -  -  do  la  \  so  -  mi  -  -  d o  re  \  mi  so  mi  -  - 
re  do  |  la-  so_  -  - 

Sing  it  again. 

Play  record  87022  (V). 

The  delight  of  the  children  is  a  reward  for  the 
pains  taken  to  lead  them  up  to  this  pleasing  little  art 
song. 

On  the  board  is  written : 

An  Irish  Love  Song.  —  Margaret  Lang. 

The  children  may  sing  it  with  the  record.  They 
have  not  learned  the  words  (which  are  over-senti- 
mental), but  la  or  syllables  will  do  until  they  get  the 
tune. 

(A  5488  (C)  and  80152  (E)  record  the  same  compo- 
sition, but  in  a  compass  too  high  to  follow.) 

(b)  Indian  music.     (Sixth  grade.) 

Through  record  70049  (V)  —  Dagger  Dance, 
"  Natoma,"  marked  features  of  Indian  music 
may  again  be  brought  to  the  class :  namely, 
the  pronounced  rhythm,  the  repetition  of  the 
short  phrase,  and  the  five-tone  scale. 

The  class  may  sing  this  scale  —  repeating 
the  most  common  phrase  in  this  native  music, 
"  re  -  do  -  la  "  (corresponding  to  our  "  so- 
mi  -  do  ")  and  noting  that  the  scale  beginning 
and  ending  on  la  sounds  to  the  Indian  as  normal 
as  the  scale  of  do  does  to  us. 

Sometimes  an  artistic  composition  is  based 
upon  primitive  music. 


74  LISTENING  LESSONS  IN  MUSIC 

Our  greatest  American  composer,  Edward 
MacDowell,  was  most  successful  in  his  use  of 
Indian  themes. 

Write  on  board : 
From  an  Indian  Lodge. 

Play  record  17035  (V). 

The  class  may  softly  sing  the  plaintive  melody. 
Did  it  sound  as  though  inspired  by  Indian  music  ? 
"  Yes." 

Which  was  more  noticeable  in  the  Dagger  Dance, 
—  rhythm  or  melody  ? 
"  Rhythm." 

Which  in  the  MacDowell  composition  ? 
"  Melody." 

This  brief  comment  might  be  made :  Mac- 
Dowell preserves  the  chief  characteristics  of 
the  native  music,  but  enriches  it  with  harmonies 
and  subordinates  rhythm  to  melody. 

Another  distinguished  American  composer, 
Charles  W.  Cadman,  has  gained  inspiration 
from  Western  Indians  for  a  number  of  beautiful 
songs.  They  are  too  refined  to  sound  much  like 
Indian  music,  but  are  suggestive  by  reason  of  con- 
taining certain  native  phrases,  and  also  through 
the  poetic  text  which  refers  to  Indian  legend. 

Write  on  the  board  : 

From  the  Land  of  the  Sky  Blue  Water. 

Recite  the  poem  —  which  tells  a  sad  little  romance. 
(Appendix.) 


THE  ASSOCIATIVE  PERIOD  7$ 

The  allusion  to  the  "  call  of  the  lover's  flute  "  is 
made  in  the  opening  measures  through  a  theme  which 
is  native  to  the  Omaha  tribe.  The  flute  is  associated 
with  the  Indian  lover's  song  as  is  the  mandolin,  or 
guitar,  with  the  lover's  song  in  Spain. 

Play  record  64190  (V). 

(c)  Negro  music.     (Sixth  grade.) 

The  old  negro  music,  based  on  the  penta- 
tonic,  or  five-tone,  scale  contains  frequent  repe- 
titions of  the  phrase,  but  rhythmically  flows 
on  much  more  smoothly  than  Indian  music. 

The  best  examples  are  the  "  Spirituals," 
which  have  words  referring  to  Biblical  incident. 

Religion  was  a  most  serious  thing  to  the  old- 
time  negro.  Bible  imagery  was  real,  and  allu- 
sions to  the  "  Golden  Slippers,"  "  Chariots  to 
carry  me  home,"  and  the  like,  may  seem  amus- 
ing to  children  in  the  North,  but  were  to  the  old 
southern  negroes  genuine  yearnings  for  the  New 
Jerusalem. 

The  negro  has  an  unusual  sense  of  rhythm, 
being  able  to  join  in  singing  at  any  beat  of  the 
measure;  also,  excelling  all  others  in  the  syn- 
copated rhythm  known  as  "  ragtime  "  —  in 
which  the  accent  is  misplaced. 

His  sense  of  harmony  is  also  unequaled  among 
primitive  people.  In  part  singing,  even  among 
those  ignorant  of  musical  notation,  the  natural 
blending  of  voices  is  extraordinary. 


76  LISTENING  LESSONS  IN  MUSIC 

His  songs  are  made  by  frequent  repetition  of 
short  phrases  (a  necessity  where  there  is  no 
written  music).  Their  rendition  is  usually 
antiphonal,  a  leader  singing  a  phrase  which  in 
turn  is  repeated  by  a  chorus. 

These  "  Spirituals  "  are  a  valuable  contri- 
bution to  musical  literature.  Every  child  should 
hear  and  understand  them.  Quite  needless 
to  add,  he  will  enjoy  them. 

In  presenting  them  to  a  class  it  is  absolutely 
necessary  to  create  the  right  atmosphere  by 
picturing  the  song,  telling  how  it  is  made,  and 
reciting  the  important  lines  of  the  text.  Also 
the  fact  must  be  emphasized  that  these  songs 
were  outbursts  of  serious  and  religious  convic- 
tion on  the  part  of  those  who  made  them. 

Familiar  examples  are  : 

Swing  Low,  Sweet  Chariot 


Golden  Slippers  J  I&453  (V) 

Roll,  Jordan,  Roll    16466  (V) 

(Sung  by  Jubilee  Singers  of  Fisk  University, 
Nashville.) 

Good  News         1 

Live  a  Humble  j  '7^3  (V) 

Go  Down,  Moses     17688  (V) 

(Excellent  records  sung  by  double  quartet  from 
Tuskegee  Institute,  Alabama. 

See  Appendix  for  words  of  last-named  songs  ;  also, 
for  brief  story  of  the  Fisk  Jubilee  Singers.) 


THE  ASSOCIATIVE  PERIOD  77 

Among  artistic  compositions  having  inspira- 
tion from  the  negro  are  certain  songs  suitably 
introduced  in  the  sixth  grade. 

(1)  Mammy's  Song  (Harriet  Ware),  17039  (V),  is 
enjoyed  by  the  class  since  "  Brer  rabbit  and  possum  " 
are  familiar  through  the  Uncle  Remus  stories. 

In  presenting  the  song  the  teacher  recites  the  poem 
(Appendix),  and  after  the  closing  lines : 

"  But  I  never  heard  the  end 
Because  —  I  always  fell  asleep," 

asks  :  Why  did  the  baby  go  to  sleep  ? 

"  Because  the  old  mammy  said  '  heap  *  so  many 
times." 

Further  rhythmical  monotony  occurs  in 

"Picked  with  their  claws, 

Licked  their  paws, 
/       And  tuk  a  heap  home 
To  their  maws." 

After  the  record  has  been  heard,  the  teacher  may 
call  attention  to  the  words  "  maw,"  "  tuk,"  and 
"  golly  "  as  used  only  by  the  rabbit  and  possum,  who 
didn't  know  any  better. 

(2)  Rockin'  Time  (Gertrude   Knox),    17918    (V). 
As  a  setting,  the  teacher  may  speak  again  of  the 

faithful  old  colored  mammy.  Through  the  words  of 
this  song  it  is  evident  that  the  little  fellow  has  grown 
to  the  age  where  he  would  rather  play  a  bit  longer 
than  to  take  his  nap ;  so  the  mammy  teases  him, 
as  she  says  : 

"  Come,  lil*  chile,  and  don*  you  know 
It's  rockin',  rockin'  time  ?  "    (Poem  in  Appendix.) 


78  LISTENING  LESSONS  IN  MUSIC 

Examples  of  serious  music  based  upon  negro 
melodies  are  found  in  Deep  River,  by  Coleridge- 
Taylor,  an  English  negro,  74246  (V) ;  and  in 
Largo,  from  Dvorak's  "New  World  Symphony," 
A  5360  (C) ;  35725  (V).  The  latter  composition 
has  a  theme  which  for  haunting  beauty  may  be 
classed  with  the  immortal  melodies  and  should 
be  sung  by  the  class. 

IX.  Singing  Habit  Established: 

(a)  Through  persistent  singing  with  phono- 
graph records. 

It  is  important  that  children  sing  a  great  deal 
in  this  period,  before  the  voices  change  and  self- 
consciousness  arrives.  Have  them  sing  with 
phonograph  records  as  much  as  possible  in  every 
lesson,  where  tunes  are  in  suitable  compass  for 
their  grade. 

This  is  the  time  to  establish  a  singing  habit 
which  will  continue  throughout  life.  Noth- 
ing is  more  desirable. 

(b}  Through  thoughtful  consideration  given 
to  the  importance  of  sustained  tones: 

(1)  as  the  leading  factor  in  beautiful  singing. 

(2)  as  bringing  physical  and  moral  benefit 
to  the  singer. 

Beginning  with  the  sixth  grade,  boys  some- 
times show  a  disinclination  to  sing.  They  are 


THE  ASSOCIATIVE  PERIOD  79 

sensitive  over  the  changing  quality  of  tone. 
They  know  their  voices  sound  harsh  and  rough. 
This  is  due  to  their  athletic  rooting,  calling 
papers,  and  habit  of  screaming  in  their  play- 
time, as  fully  as  from  physiological  causes.  It 
is  an  amusing  fact  that  the  boy  never  considers 
his  voice  a  delicate  organ  except  in  the  fifteen- 
minute  music  lesson. 

Authorities  differ  as  to  the  advisability  of 
resting  the  singing  voice  during  the  period  of 
mutation.  My  observation  is  that  soft,  quiet 
singing,  in  limited  compass,  does  not  hurt  the 
boy's  voice  at  any  time.  However,  no  one  can 
object  to  the  boy's  whistling  and  he  is  always 
willing  to  do  this. 

Lessons  in  which  the  class  sings  and  whistles 
with  the  record  should  be  frequent,  and  phono- 
graph examples  of  sustained  singing  will  be 
found  beneficial  in  keeping  up  music  interest. 

(i)  Sustained  tones,  a  factor  in  beautiful 
singing. 

This  lesson  on  "  Sustained  Tones  "  may  be 
used. 

The  class  may  think  of  many  kinds  of  musical 
instruments. 

Which  have  greater  value  and  beauty,  those  which 
can  sustain  long  tones,  or  those  which  can  produce 
only  short  ones  ? 

"  Those  which  can  sustain  long  tones." 


80  LISTENING  LESSONS  IN  MUSIC 

Which  is  generally  called  the  king  of  instruments  ? 

"  Organ." 

Which  next  ? 

"  Violin." 

What  is  their  natural  tone  value  ? 

"  Long." 

Name  three  other  instruments  whose  power  to  hold 
the  tones  depends  upon  the  breath. 

"  Cornet,  flute,  human  voice." 

What  is  the  natural  tone  value  of  a  banjo  ?  Of  a 
mandolin  ? 

"  Short." 

Short-tone  instruments  have  no  great  literature, 
since  great  musicians  do  not  write  for  them  or  play 
upon  them.  One  tires  of  hearing  only  short  tones. 
The  mind  must  have  a  chance  to  rest,  and  the  long 
tones  are  necessary.  One  can  listen  much  longer  to  a 
violin  than  to  a  banjo  or  a  mandolin.  This  value  and 
beauty  of  a  long  tone  is  a  principle,  an  eternal  truth, 
the  recognition  of  which  does  not  depend  upon  one's 
higher  education.  For  example,  there  are  people 
without  what  we  call  great  learning,  who  sing  well 
because  they  have  discovered  this  principle. 

Listen  to  the  singing  of  Hawaiian  natives.  This 
composition  is  sung  by  five  men,  three  tenors  and  two 
baritones. 

Notice  how  long  their  phrases  are  (i.e.  how  many 
tones  they  sing  on  one  breath)  and  how  smoothly  they 
sing.  The  song  is  called  "  Farewell,"  and  was  sung 
when  Queen  Liliuokalani  was  deported  to  the  United 
States  and  the  native  rule  came  to  an  end.  Note  the 
accompaniment  on  a  kind  of  guitar  (ukelala)  and 
the  peculiar  effect  produced  by  sliding  on  the  strings. 

Play  record  65348  (V). 

(The  reverse  side  of  this  record  is  equally  good  for 
this  lesson.) 


THE  ASSOCIATIVE  PERIOD  8l 

The  old-time  negroes  also  discovered  the 
principle  that  prolonged  tones  have  the  greatest 
beauty.  Their  wonderful  old  songs,  called 
"  Spirituals,"  would  have  little  value  if  sung 
with  staccato  tones.  Play  Live  a  Humble,  or 
Good  News,  17663  (V). 

(Use  commentary  in  Appendix  for  further 
description  of  these  songs.) 

(2)  Sustained  tones,  as  bringing  physical  and 
moral  benefit  to  the  singer. 

Startle  the  class  by  asking : 

How  many  of  you  want  to  live  a  long  time  ?  Then 
you  must  breathe  deeply,  and  use  all  your  lung 
capacity.  No,  do  not  raise  the  chest  or  shoulders 
when  you  inhale ;  work  the  ribs  and  waist  muscles. 
If  you  will  acquire  the  habit  of  breathing  that  way, 
your  heart  will  not  have  to  work  so  hard  and  conse- 
quently will  not  wear  out  so  soon. 

You  may  sing  something  for  the  practice  of  holding 
long  tones. 

Play  O  Sole  Mio,  Italian  folk  song,  16899  (V), 
Cornet  Solo. 

Class  sings,  teacher  conducting. 

What  a  happy  tune  it  is  !  It  means  "  My  Sun- 
shine." You  may  sing  it  without  the  record.  You 
almost  know  it.  Isn't  that  fine  ?  You  see,  boys  and 
girls,  we  know  only  what  we  really  make  a  part  of 
ourselves.  There's  a  good  saying  of  the  German 
scholar  Lessing,  "  What  we  know  is  the  measure  of 
what  we  see."  (Write  on  board.)  It  might  be  para- 
phrased, "  What  we  know  is  the  measure  of  what 
we  can  remember." 


82  LISTENING  LESSONS  IN  MUSIC 

Now  you  have  rested  a  bit  and  may  stand  while 
you  sing  or  whistle  it  again.  The  whistling  sounded 
well,  too,  with  the  long  tones.  Make  them  still 
smoother  this  time. 

Play  the  record  again. 

(The  class  looks  happy  and  must  surely  feel  happier 
and  better  than  before  the  lesson.) 


CHAPTER  FOUR 

THE   ADOLESCENT  PERIOD 
Grades  Seven,  Eight,  and  High  School 

THE  eighth  grade  is  perfectly  capable  of  ap- 
preciating musical  compositions  heretofore  re- 
served for  high  school,  providing  the  steps 
in  listening  have  been  taken  in  preceding 
grades. 

Habits  cannot  be  easily  established  after 
the  Adolescent  Period,  and  listening  is  a  habit. 

As  so  large  a  percentage  of  pupils  do  not  enter 
high  school,  they  should  have  a  glimpse  of  the 
promised  land  in  seventh  and  eighth  grades ; 
therefore  large  forms  and  serious  compositions 
are  advocated  at  this  time. 

In  this  period,  pupils  should  no  longer  be 
treated  as  children.  In  fact,  they  resent  such 
treatment.  As  far  as  this  subject  is  concerned, 
they  should  now  have  mature  understanding. 
A  substantial  foundation  has  been  laid  on  which 
may  be  reared  the  whole  structure  of  music  ap- 
preciation. 


84  LISTENING  LESSONS  IN  MUSIC 

Fundamental  lessons  in  the  preceding  period 
should  be  enlarged  upon  and  new  subjects  intro- 
duced at  this  period  of  life. 

From  a  wealth  of  material  the  following  sub- 
jects have  been  found  to  contain  particular 
interest : 

/.   Vocal  Music : 

(a)  Songs. 

(1)  Folk  Song. 

(2)  Popular  Song. 

(3)  Ballad. 

(4)  Aria. 

(5)  Lied. 

(6)  Chanson. 

(7)  Art  Song. 

(b)  Opera. 

(1)  As  a  form. 

(2)  Selections. 

(c)  Oratorio. 

(1)  As  a  form. 

(2)  Selections. 

//.  Instrumental  Music : 
(a)  Absolute. 

(1)  Related  to  Classic  period  and 

dependent    upon    prescribed 
form. 

(2)  Illustrations. 


THE  ADOLESCENT  PERIOD  85 

(b)  Program. 

(1)  Related    to    Romantic    period 

and  emphasizing  content  and 
.   free  form. 

(2)  Illustrations. 

///.  National  Music:   related  to  geography  and  history 
and  expressed  by : 

(a)  Folk  music,  revealing  characteristics 

of  the  common  mass. 

(b)  Art  music,  showing  the  development 

of  the  cultured  individual. 

IV.   The  Orchestra  : 

(a)  Its   constituents :    instruments,   con- 
ductor, etc. 
(b}  Its  literature : 

(1)  Symphonies. 

(2)  Overtures. 

(3)  Suites. 

(4)  Tone  poems  and  tone  pictures. 

V.  Musical  Criticism:  the  result  of  intelligent  listening : 

(a)  Related  to  a  profession. 

(b)  As  a  subject  for  language  lessons. 

I.   Focal  Music, 
(a)  Songs. 

(i)  Folk  Songs. 

Interest  in  this  natural  and  early  expression 
of  song  has  already  been  created,  but  its  deeper 


86  LISTENING  LESSONS  IN  MUSIC 

significance  should  be  brought  out  when  emo- 
tional content  and  design  can  be  discussed. 

A  folk  song  must  appeal  to  the  heart  and  be 
accepted  by  a  community.  It  must  be  simple, 
that  every  one  may  learn  it;  tuneful,  that 
every  one  will  like  it ;  and  sincere,  that  it  may 
reflect  the  nature  of  the  people. 

The  folk  song  in  itself  is  a  life-time  study. 
It  may  be  considered  as  (a)  a  form  in  the  devel- 
opment of  musical  art  (page  37),  or  (&)  a 
national  expression  in  the  study  of  a  particu- 
lar people  (page  137). 

In  his  valuable  book,  "  The  Evolution  of  the 
Art  of  Music,"  Hubert  Parry  has  a  most  com- 
prehensive chapter  on  this  subject  which  will 
repay  anyone  for  reading.  In  this  he  says, 
"  Folk  tunes  are  the  first  efforts  made  by  man 
in  distributing  his  tones  so  as  to  express  his 
feelings  in  terms  of  design.  Even  primitive 
man  has  an  unconscious  instinct  for  design  and 
for  portraying  his  emotional  impulse.  The  fin- 
est tunes  in  the  world  combine  the  emotional 
aspect  with  the  finest  adjustment  of  design." 

Mr.  Parry  differentiates  the  folk  music  of 
various  ages  and  nations,  and  concludes :  "  Irish 
folk  music  —  probably  the  most  human,  most 
varied,  most  practical,  and  most  imaginative 
in  the  world  —  is  particularly  rich  in  tunes  which 


THE  ADOLESCENT  PERIOD  87 

imply  sympathetic  sensitiveness  ;  and  the  Anglo- 
Scotch  border  folk  music  is  not  far  behind.  In 
many  tunes  of  these  districts,  the  very  design 
itself  seems  to  be  the  outcome  of  the  sensibility 
of  the  human  creature.  The  cumulation  of 
crises  rising  higher  and  higher  is  essentially  an 
emotional  method  of  design. 

"True  folk  music  is  an  outcome  of  the  whole 
man.  Highly  sensitive  races  express  them- 
selves with  high  degrees  of  emotional  force 
and  variety  of  form ;  placid  races  show  perfect 
content  in  simple  designs  with  little  meaning ; 
serious  and  strong  races  produce  very  simple 
and  dignified  tunes." 

Excellent  illustrations  of  the  Irish  folk  song 
are : 

The  Minstrel  Boy.    A  1144  (C) ;  64117  (V) 
The  Harp  That  Once  Thro'  Tara's  Halls.    A  1230  (C) ; 
64259  (V) 

The  foregoing  is  obviously  for  the  teacher 
rather  than  for  the  brief  lesson  in  public  school 
hours.  For  the  class,  use  this  definition  :  "  The 
folk  song  is  the  tonal  expression  of  some  poetic 
soul  in  the  remote  past.  It  has  passed  through 
generations  by  word  of  mouth.  Only  tones 
were  retained  that  were  absolutely  necessary 
to  express  the  musical  idea :  hence,  it  is  simple 
and  expresses  the  nature  of  the  people." 


88  LISTENING  LESSONS  IN  MUSIC 

As  it  is  natural  for  people  everywhere  to 
express  their  emotions  in  some  manner,  either 
through  verbal  or  tonal  language,  it  follows, 
that  in  countries  having  perfect  liberty  of 
speech  and  pen  (England  and  America)  the 
people  use  the  written  or  spoken  language  and 
there  is  a  dearth  of  folk  music.  In  countries 
like  Russia,  Bohemia,  Poland,  etc.,  the  people 
have  not  had  this  freedom,  and  so  have  resorted 
to  musical  expression.  Such  countries  are  rich 
in  folk  music,  depicting  every  phase  of  life, 
every  event  from  birth  to  death. 

Inasmuch  as  recent  textbooks  on  music  have 
included  the  best  examples  of  folk  songs  from 
many  countries,  it  seems  unnecessary  to  enu- 
merate a  further  list  in  these  pages.  (See  page 

39-) 

The  teacher  may  draw  from  the  class  com- 
ment upon  the  emotional  character  and  design 
of  those  songs  with  which  they  are  already 
familiar,  as  well  as  upon  others  found  in  school 
music  books. 

The  folk  song,  being  the  origin  of  all  our 
music,  contains  the  same  principles  which  are 
found  in  forms  of  mature  art. 

Analysis  and  criticism  of  larger  forms  will 
be  much  easier  if  the  custom  begins  with  the 
simple  form. 


THE  ADOLESCENT  PERIOD  89 

The  following  may  be  used  as  briefly  illus- 
trative : 

Play  record,  or  have  class  sing,  Annie  Laurie. 

What  word  best  describes  the  emotional  character 
of  this  song  ? 

"  Sentimental."  (The  teacher  may  have  the  class 
persist  until  the  desired  word  is  suggested.) 

How  many  kinds  of  phrases  in  the  design  ? 

"  Two." 

How  are  they  arranged  ? 

"  A  A  B  A." 

Does  the  song  have  much  variety  ? 

Does  it  become  tiresome  ? 

Does  this  song  appeal  to  every  one  ? 

Is  it  widely  known  ? 

What  are  the  essentials  of  a  good  folk  song  ? 

Play  Home,  Sweet  Home. 

Name  two  words  describing  its  emotional  character. 

How  many  kinds  of  phrases  in  the  design  ? 

How  arranged  ? 

"AAB  B." 

As  an  illustration  that  will  be  enjoyed  by  school 
children,  have  some  one  sing  the  familiar  folk  song  of 
early  childhood,  "  One  little,  two  little,  three  little 
Indians,"  and  so  on. 

How  many  kinds  of  phrases  ? 

"  One." 

How  is  it  varied  ? 

"  Through  the  cadence." 

Is  it  monotonous  ? 

"  Yes." 

What  is  the  purpose  of  the  song  ? 

'*  To  put  the  baby  to  sleep." 

Is  monotony  desirable  in  a  cradle  song  ? 

"  Yes." 


90  LISTENING  LESSONS  IN  MUSIC 

(2)  Popular  Songs. 

In  the  common  acceptance  of  the  term, 
popular  songs  have  no  place  in  these  pages, 
since  they  have  no  permanent  value  and  are 
apt  to  have  sufficient  consideration  outside  of 
the  school  course. 

In  a  broader  understanding  of  the  word, 
there  are  many  excellent  old  songs  which  retain 
their  popularity.  Such  are  found  in  the  best 
music  textbooks  and  need  no  special  commen- 
tary. 

Concerning  the  commonplace  and  ofttimes 
vulgar  song  something,  however,  should  be 
said.  Its  lilting  rhythm  and  emotional  char- 
acter make  strong  appeal  to  mature  boys  and 
girls  who  seize  every  new  song  —  no  matter  how 
poor.  Even  the  trashy  song  with  vile  words  is 
learned  with  the  rest. 

A  wise  teacher  will  plan  a  lesson  in  the  Ado- 
lescent Period  in  which  to  discuss  with  the  class 
the  subject  of  good  and  poor  music,  both  vocal 
and  instrumental ;  not  in  condemnation  of 
what  they  may  enjoy,  but  merely  to  encourage 
thought  upon  the  subject,  and  to  hinder  accept- 
ance of  so  much  that  is  poor. 

The  following  suggestions  may  be  used  : 

It  is  not  always  easy  to  tell  what  makes  one  piece 
of  music  good  and  another  bad.  It  is  rather  some- 


THE  ADOLESCENT  PERIOD  91 

thing  to  be  felt  than  to  be  defined  in  words.  Let  the 
idea  be  applied  to  other  phases  of  art. 

Can  you  tell  good  from  bad  poetry  ? 

Name  several  important  features  of  good  poetry. 

"  Rhythm,"  "  choice  words,"  "  poetic  thought." 

Can  you  tell  good  from  bad  architecture  ? 

Name  two  buildings  in  town,  one  of  which  has  bad 
proportions,  excessive  ornamentation,  and  mixed 
style ;  the  other  of  which  shows  strength  and  good 
proportion,  good  taste  also  in  its  simple  outlines, 
and  choice  materials. 

Take  the  picture  (naming  one  in  the  schoolroom  if 
possible). 

Is  the  central  thought  clearly  presented  ? 

Are  the  foreground  and  background  suitably  pro- 
portioned ? 

Is  the  balance  preserved  between  light  and  shade  ? 

Just  so  in  music,  one  must  feel  the  balance  of 
phrases,  the  strength  and  unity  of  the  main  subject, 
the  subordination  of  attending  phrases  and  embellish- 
ments. But  above  all  things  in  music,  one  must 
sense  ideas.  Sometimes  a  folk  tune  will  contain  but 
a  single  idea,  but  in  its  simple  expression  it  will  seem 
complete.  Another  composition  may  contain  a 
brief  theme,  or  several,  which  will  be  skillfully  worked 
out  into  symphonic  greatness.  A  musical  idea  must 
be  strong  in  itself  and  artistically  treated  to  endure 
the  test  of  time. 

Let  us  apply  the  subject  to  songs. 

What  is  the  starting  point  in  composing  a  song  ? 

"  The  words." 

Well,  then,  a  good  song  must  have  good  words. 

What  is  the  second  point  in  a  good  song  ? 

"  The  music  must  be  truthful  to  the  sense  of  the 
text." 

By  this  you  mean,  of  course,  the  music  which  is 


92  LISTENING  LESSONS  IN  MUSIC 

for  the  voice,  and  also  that  which  makes  the  accom- 
paniment. 

In  regard  to  the  interpreter  of  the  song : 

What  must  the  singer  possess  ? 

"  A  pleasing  voice." 

What  else  ? 

"  Intelligent  understanding  of  the  song." 

Name  several  good  songs  which  you  enjoy  and 
consider  an  essential  part  of  your  education.  The 
teacher  should  draw  answers  from  the  least  musical 
of  the  class.  Should  songs  be  named  which  are  not 
meritorious,  consider  them  long  enough  to  ask : 

Are  the  words  choice  ? 

Recite  the  words  as  well  as  you  can. 

Would  you  consider  them  rhythmical  in  themselves 
and  suitable  for  association  with  music  ? 

How  does  the  tune  go  ? 

Is  there  a  phonograph  record  of  the  song  which 
you  might  bring  to  school  to  let  the  class  decide 
about  its  quality  ? 

By  the  way,  boys  and  girls,  how  many  of  you  like 
"  ragtime  "  ?  Be  honest,  and  if  you  do  really  like 
it,  say  so.  (Usually  most  of  the  hands  are  raised.) 

What  is  there  in  this  kind  of  music  that  appeals  to 
you  ? 

"  It  is  lively." 

"Quick." 

"  Has  a  swing  to  it." 

"  Makes  one  want  to  move." 

Yes,  that's  all  true,  and  it  is  not  surprising  that 
youth  should  respond  to  music  that  is  so  spirited. 
It  is  natural. 

"  Ragtime "  (or  ragged  time)  music  contains 
features  that  are  both  good  and  bad.  There  is  a 
certain  lilting  rhythm  that  is  contagious,  and  irregu- 
lar accent  (write  on  the  board  "  syncopation ") 


THE  ADOLESCENT  PERIOD  93 

which  may  be  found  in  the  very  best  music.  There  is 
a  tune  so  simple  that  one  can  learn  it  almost  the 
first  time  it  is  heard  ;  but  it  is  apt  to  grow  monoto- 
nous. Isn't  it  a  fact  that  after  you  have  played  one  of 
these  exciting  pieces  for  several  weeks  you  are  tired 
of  it  and  eager  for  a  new  one  ?  (Class  nods  assent.) 
The  reason  is,  that  the  piece  does  not  contain  what 
might  be  called  a  strong  musical  idea  ;  consequently, 
after  a  short  and  adventurous  life,  it  dies  —  "un- 
wept, unhonored,  and  unsung." 

As  for  "  ragtime  songs,"  did  you  ever  take  the 
words  apart  from  the  music  and  read  them  thought- 
fully ?  If  so,  did  you  find  them  worth  remembering  ? 
Or,  did  you  ever  hear  a  well-trained  voice  in  a  phono- 
graph record  singing  this  kind  of  song  ?  The  fact  is, 
that  a  person  whose  voice  is  really  good  for  anything 
will  not  be  associated  with  bad  music.  The  same 
may  be  said  of  composers.  One  who  can  write  good 
music  will  not  compromise  himself  or  his  art.  There 
are  numerous  stories  told  of  great  composers,  poor  in 
purse,  who  were  urged  by  their  family  and  friends  to 
write  for  the  common  public  for  the  sake  of  lessening 
their  own  poverty;  but  the  real  artist  will  not  be- 
come a  "  pot-boiler." 

Suppose,  after  this,  you  regard  music  as  an  influ- 
ence in  your  development  and  choose  it  more  thought- 
fully, just  as  you  would  your  books  and  pictures  and 
friends  or  even  food. 

More  than  this,  you  have  grown  beyond  the  age  of 
jingle  —  for  ragtime  is  jingle,  and  bears  about  the 
same  relationship  to  good  music  that  a  nursery 
rhyme  does  to  serious  literature.  There's  a  jingle  in 
both  that  is  easy  to  get  hold  of,  and  which  appeals  to 
the  primitive  sense.  An  eighth  grade  class  would 
feel  insulted  if  any  one  intimated  that  its  taste  had 
not  developed  beyond : 


94  LISTENING  LESSONS  IN  MUSIC 

"Hey  diddle  diddle, 
The  cat  and  the  fiddle, 
The  cow  jumped  over  the  moon." 

Every  child  is  fascinated  at  some  time  with  Mother 
Goose,  but  he  grows  beyond  that  stage  as  he  is 
brought  into  contact  with  deeper  literature  and  gives 
it  thought,  and  he  must  grow  beyond  that  stage  in 
music  in  the  same  way. 

There  was  another  and  perhaps  a  better  reason, 
boys  and  girls,  why  so  many  of  you  said  that  you 
liked  "  ragtime."  You  probably  hear  more  of  that 
kind  of  music  than  any  other,  and  it  is  a  fact  that  we 
enjoy  the  things  with  which  we  are  most  familiar. 
If  one  should  ask  some  dear  old  women  the  kind  of 
music  they  enjoyed  most,  they  would  probably  say 
"  hymns  " ;  and  should  military  men  be  asked  for 
the  music  that  made  strongest  appeal  to  them,  they 
would  undoubtedly  say  "war  songs  "  and  "  marches." 
The  boys  and  girls  hear  a  certain  kind  on  the  streets, 
at  entertainments,  —  everywhere  and  all  the  time  — 
and  of  course  they  like  it. 

Once  there  was  a  woman  who  lived  most  of  her 
life  in  Holland.  You  know  what  she  saw  there : 
dikes,  canals,  and  windmills.  When  she  was  old 
she  traveled  in  Switzerland  and  complained  that  she 
could  not  see  the  scenery  because  of  the  mountains. 

If  boys  and  girls  fill  their  ears  with  ragtime,  there 
will  be  room  for  nothing  else,  and  furthermore,  they 
will  soon  care  for  nothing  else  and  be  unable  to  enjoy 
wonderful  harmonies  and  the  really  good  music. 

Some  years  ago  Great  Britain  made  a  large  loan  to 
Persia,  and  it  was  quite  necessary  that  the  two  coun- 
tries maintain  friendly  relations.  So  Queen  Victoria 
invited  the  Shah  to  visit  London,  and  great  prepara- 
tions were  made  to  entertain  his  Highness.  Among 


THE  ADOLESCENT  PERIOD  95 

other  things  he  was  to  hear  a  program  by  a  sym- 
phony orchestra  —  which  was  a  new  experience. 

Now  Persian  music  is  wholly  different  from  ours ; 
besides  using  a  different  scale,  the  instruments  are 
crude,  and  (to  our  ears)  unmusical,  and  harmony  is 
not  understood.  Consequently  the  Shah,  who  had 
not  traveled  outside  of  his  own  country,  had  never 
heard  concerted  music,  or  differents  kinds  of  instru- 
ments playing  harmoniously  together.  At  the  close 
of  the  concert,  reporters  inquired  anxiously  for  his 
impressions,  wishing  to  know  which  composition 
pleased  him  most.  "  The  first  one,"  he  informed 
them,  "  before  the  man  with  the  stick  came  in."  (It 
was  formerly  the  custom  for  the  players  to  tune  up 
their  instruments  after  they  came  on  to  the  platform, 
and,  when  they  were  in  accord,  the  conductor  ap- 
peared.) The  Shah  could  appreciate  the  sounds  of 
the  individual  instruments,  a  squeaking  here,  a  toot- 
ing there  ;  but  when  all  sounded  together  it  meant,  to 
his  ears,  nothing  but  a  confusion. 

Contrast  with  the  preceding  this  story  (which  is 
taken  from  SchaufHer's  delightful  little  book  "The 
Musical  Amateur"). 

A  pitiable  cripple,  shipwrecked  in  all  but  the  noble 
intelligence,  was  seen  to  hobble  away  from  the  hear- 
ing of  a  Beethoven  symphony,  exclaiming,  "  I  have 
just  heard  that  music  for  the  fiftieth  time.  You  see 
what  I  am,  but  with  that  in  my  soul,  I  walk  down 
Regent  Street,  a  god  !  " 

Now  let  us  close  this  lesson  with  some  lively  music 
which  has  lived  for  years  without  wearing  out. 

Write  on  the  board  : 

Estudiantina. 

This  is  a  song  of  dancing  Spanish  students.     The 


96  LISTENING  LESSONS  IN  MUSIC 

words  are  poetic  and  rhythmical,  as  befits  the  charac- 
ter of  the  music. 

Play  record  5869  (V). 

What  kind  of  rhythm  ?     Accent  ? 

Write  on  the  board  : 

La  Czarine.  —  a  Russian  Mazurka. 

Play  record  A  5288  (C) ;    16287  (V). 

What  kind  of  rhythm  ? 

Where  is  the  accent  ? 

Compare  these  points  with  the  waltz. 

Write  on  the  board  : 
Funiculi-Funicula.  —  Denza. 

This  song  is  so  popular  in  Italy  that  it  is  classed 
with  the  folk  songs.  Some  one  may  consult  the 
dictionary  for  the  word  "  funiculus." 

What  does  it  mean  ? 

"  A  rope  or  cord." 

This  song  received  its  peculiar  name  in  this  way : 
The  original  words,  which  were  humorous,  "  cele- 
brated the  opening  of  the  funicular  railway  to  the 
summit  of  Vesuvius  (1880)." 

What  is  a  funicular  railway  ? 

You  may  whistle  with  the  record. 

Play  16899  (V). 

Write  on  board : 

Ciribiribin. 

Play  record  A  5235  (C) ;    16357  (V). 
What  is  the  rhythm  ?    Accent  ? 


THE  ADOLESCENT  PERIOD  97 

There  are  four  kinds  of  distinct  solo  songs 
identified  with  as  many  different  nations; 
namely,  ballad,  aria,  lied,  chanson. 

(3)  Ballad. 

This  type  of  song  has  thrived  best  in  England 
—  which  has  produced  some  excellent  examples. 
The  generally  accepted  meaning  of  the  word 
is,  a  simple  song  which  narrates  a  story  through 
a  number  of  verses.  Each  verse  is  sung  to 
the  same  melody.  The  accompaniment  is  also 
simple.  The  very  simplicity  of  the  form  ob- 
viates the  necessity  of  any  explanation. 

Sally  in  Our  Alley.  —  Henry  Carey 

Unless  the  class  is  already  familiar  with  the  song, 
the  very  title  provokes  laughter.  The  teacher  may 
explain  that  is  it  an  old  song  (published  1715)  and 
that  "  alley  "  does  not  mean  the  place  where  the 
garbage  cans  are  kept.  In  old  parts  of  cities  in  Eng- 
land and  Scotland,  a  narrow  passageway  between  the 
houses  is  called  a  "  close,"  or  "  wynd,"  or  "alley." 
So  you  see  Sally  should  not  have  any  particular 
stigma  upon  her  just  because  she  lived  in  an 
"  alley." 

The  first  and  third  stanzas  of  the  poem  are  used  in 
the  song  (Appendix).  Ask  the  class  what  kind  of 
voice  should  sing  these  words.  The  question  is 
puzzling,  and  various  answers  are  offered,  "  tenor," 

bass,"  "  baritone."  The  teacher  explains  that  a 
bass  may  sing  a  sentimental  ballad,  though  not  an 
art  song  of  love.  However,  there  is  no  reason  why 
all  the  men  should  not  express  the  love  of  Sally  in  this 


98  LISTENING  LESSONS  IN  MUSIC 

old  song  and  so  it  is  sung  by  a  male  quartette.  Ask  : 
What  voices  comprise  a  male  quartette  ? 

Create  interest  in  Henry  Carey  (1690-1743),  Eng- 
lish poet,  who  wrote  both  words  and  music. 

Play  record  16401  (V) ;    A  1440  (C) ;    80149  (E). 

The  composition  is  much  enjoyed  by  the  class,  and 
higher  respect  may  be  engendered  by  this  criticism : 

"  A  little  masterpiece  in  a  difficult  style.  In  grace, 
tenderness,  simplicity,  and  humor,  it  is  worthy  of 
the  ancients.  The  unity  and  completeness  of  the 
picture  is  remarkable." 

Other  English  ballads  with  which  the  class 
should  be  familiar,  are  : 

The  Lass  with  the  Delicate  Air  A  5352  (C) ;  17190  (V) 

When  Love  Is  Kind  A  1472  (C) ;  64325  (V) 

My  Pretty  Jane  80072  (E) ;  74254  (V) 

I've  Been  Roaming  64404  (V) 

The  Irish  ballad,  also, 
Quid  Plaid  Shawl  A  1349  (C) ;  17386  (V) 

is  interesting,  and  as  filled  with  sentiment  as 
though  it  had  grown  up  under  the  shadow  of 
the  Blarney  Stone. 

(4)  Aria. 

This  is  an  extended  and  elaborate  solo,  native 
to  Italy,  and  as  a  feature  of  florid  opera  is  well 
conceived  for  vocal  display. 

A  hundred  and  more  years  ago,  the  aria  was 
a  popular  style  of  song,  but  as  it  was  created 
to  glorify  the  singer  rather  than  the  art,  its 


THE  ADOLESCENT  PERIOD  99 

popularity  decreased  as  the  art  song  increased. 
The  words  are  of  small  importance. 

The  highly  ornamented  style  of  singing  found 
in  this  form,  is  called  "  coloratura  "  (board). 

Two  well-known  examples  from  Italian  opera 
are : 

Ah  fors'  e  lui  ("  Traviata  ")     A  5284  (C) ;  88064  (V) 
Caro  nome  ("  Rigoletto  ")        A  5295  (C) ;  88078  (V) 

and  the  better  balanced  number  from  modern 
French  opera, 

Depuis  le  jour  ("  Louise  ")  A  5440  (C) ;  80119  (E) ;  70085  (V) 

(The  opening  words  are  generally  used  as  the 
title.) 

(5)  The  Lied. 

This  native  song  of  Germany  is  a  poem  set 
to  music  which  is  in  perfect  accord  with  the 
text.  "•  It  is  without  the  artificiality  of  the 
operatic  aria  and  with  higher  artistic  qualities 
than  mark  the  people's  song."  It  requires 
much  study  and  does  not  make  immediate 
appeal.  Often  the  melody  is  slight  and  of 
little  interest  apart  from  the  accompaniment. 
As  the  lied  was  the  beginning  of  the  art  move- 
ment it  is  more  fully  discussed  under  that  head. 
Examples  are : 

The  Wanderer.  —  Schubert.    A  5503  (C) ;  82053   (E); 
74323  (V) 


100  LISTENING  LESSONS  IN  MUSIC 

Widmung  (Dedication).  — Schumann.    A  1027  (C) 
The  Lotus  Flower.  —  Schumann.    61207  (V) 
Minnelied  (Love  Song).  —  Brahms.    64247(7) 

(6)  The  Chanson. 

As  the  name  suggests,  this  song  belongs  to 
France.  Its  character  is  dainty,  and  usually 
based  on  the  love  theme.  Both  voice  part  and 
accompaniment  are  designed  with  elaborate 
effectiveness,  but  the  unity  between  the  two  is 
sometimes  less  perfect  than  in  the  lied.  Ex- 
amples are : 

Chanson  Provencals.    74449  (V) 
Chanson  Lorraine.    64232  (V) 

(7)  Art  Song. 

There  are  two  distinct  elements  in  a  song  : 
the  poetic  and  the  lyric ;  or,  as  the  children 
say,  "  the  words  and  the  music."  In  a  pre- 
ceding period,  the  class  learned  that  a  song  is  a 
poem  put  to  music  and  that  the  words  are  the 
starting  point. 

The  teacher  explains  that  the  highest  type 
of  song  has  a  perfect  blending  of  these  two 
elements  so  that  words  and  music  seem  to  ema- 
nate from  the  same  mind.  Or,  as  Edward  Dick- 
inson says  of  the  perfect  song,  "  poetic  line 
and  musical  phrase,  twin-born,  mutually  de- 
pendent and  inseparable."  Sometimes  one  finds 


THE  ADOLESCENT  PERIOD  IOI 

a  good  tune  with  poor  words,  or  vice  versa, 
and  again  a  song,  in  which  both  text  and  tune 
may  have  merit,  will  have  poor  correspondence 
between  the  two. 

It  is  absolutely  necessary  to  know  the  words 
before  hearing  the  music  in  order  to  judge  the 
song  intelligently. 

•For  artistic  presentation,  vocal  music  should 
be  sung  in  the  original  language.  For  educa- 
tional purposes,  the  best  translation  must  be 
used.  The  accompaniment  is  very  important 
and  must  have  a  beauty  of  its  own,  distinct  from 
the  voice  part.  Sometimes  it  contains  more  of 
the  tune  than  does  the  voice  part.  The  highest 
development  of  vocal  music  is  the  art  song, 
which  covers  a  period  of  about  one  hundred 
years.  Although  founded  upon  the  compositions 
of  four  great  German  song  writers  :  Schubert, 
Schumann,  Franz,  and  Brahms,  the  art  song 
movement  has  spread  to  other  countries,  and  all 
serious  modern  songs  show  the  influence  of  lieder. 

In  presenting  the  art  song,  first  recite  the 
words  thoughtfully  and  rhythmically,  bringing 
out  the  full  value  of  the  text. 

Emphasize  these  points  : 

Every  phrase  of  the  music  must  exactly 
correspond  in  meaning  to  its  poetic  line. 

The  voice  part  contains  no  tune  that  will 


102  LISTENING  LESSONS  IN  MUSIC 

make  the  same  kind  of  appeal  that  a  ballad  or 
popular  song  does.  Hence,  it  must  not  be 
compared  with  any  other  kind  of  song. 

As  much  of  the  melody  may  be  in  the  accom- 
paniment as  in  the  voice  part.  The  success 
of  this  art  form  depends  upon  the  fusion  of 
words,  voice  part,  and  accompaniment  into  one 
perfect  whole. 

Write  on  the  board  : 
The  Wanderer.  —  Schubert. 

In  advance  of  the  lesson  have  the  translated  poem 
(Appendix)  written  on  the  board. 

Ask  a  member  of  the  class  to  read  the  poem. 

Ask  a  second  member  to  read  it  more  slowly  and 
bring  out  more  of  its  value. 

Have  a  third  member  read  it  with  still  deeper 
purpose. 

By  this  time  the  class  has  a  good  impression  of  the 
words. 

Is  the  theme  a  happy  one  ? 

Should  the  song  be  in  the  major  or  minor  mode  ? 

"  Minor." 

Why? 

"  Minor  suits  a  sad  thought." 

What  type  of  voice  should  sing  this  song  ? 

"  Bass." 

Why? 

"  Songs  of  despair  and  sorrow  require  low  sounding 
tones." 

Analyze  the  text  more  critically,  anticipating  the 
character  of  music  to  be  associated  with  certain 
words  or  phrases. 


THE  ADOLESCENT  PERIOD 


103 


Play  record  74323  (V) ;    A  5503  (C). 

As  the  record  is  played,  follow  the  words  and  notice 
the  special  points  of  close  correspondence  between 
music  and  text.  Schubert  wrote  the  music  for  Ger- 
man words,  but  the  English  translation  is  so  excellent 
that  almost  every  accent  falls  where  it  should. 

Draw  observations  from  the  class. 

Play  the  record  again,  and,  standing  by  the  board, 
underscore  certain  words  which  may  later  be  com- 
mented upon  as  follows : 


Text 

high  " 


"  moaning  sea  " 


I  wander  on  " 


Where  ?  "   . 


"  sun  appears  so  cold  "  . 
"  faded  flowers  "  .  .  . 
"  life  grown  old  "... 
"  Their  speech  I  cannot 
understand"  .  .  .  . 

"  Where  art  thou  ?"  .  . 
"  Where  art  thou  ?"  .  . 
"  home,  so  long  desired  " 


Music 

represented  by  a  tone 
which  is  high  and  has 
strong  accent. 

phrase  falls  and  ends 
mournfully. 

variety;  four  tones  (7a- 
so  -  mi  -  do-)  to  ex- 
press the  word  "  wan- 
der." 

the  seventh  tone  (ft')  is 
held  in  suspense ;  this 
is  the  only  tone  that 
could  ask  the  question 
so  impressively. 

sad  and  dreary  sounding 
phrases  in  the  minor 
mode. 

changes  to  major  key  and 
faster  tempo ;  wider 
and  stronger  intervals, 
as  the  man  cries  out 
in  desperation. 


IO4 


LISTENING  LESSONS  IN  MUSIC 


ne'er  acquired 
the    land    in 
green  " 


hope    so 


"  roses'    bloom    is    seen  " 
"  friends  unchanging  " 
"  dead    live   once   more " 
"  land  whose  language  is 

my  own " 

"  Dear    land,    where    art 

thou?"       .     .     .     .     . 
"  I    wander    on    in    calm 

despair " 


1  Where?  always  where?" 


a  spirit  voice  resound 


minor,  phrase  falls. 

marked  change  to  the 
major  key,  a  different 
rhythm  and  still  faster 
tempo  —  as  hope 
brings  a  glimpse  of 
joy ;  —  but  it  is  only  a 
vision. 

sad  musical  phrase,  fol- 
lowed by  a  pause. 

slow,  tune  one  of  resigna- 
tion, as  hope  is  gone 
and  the  unhappy  wan- 
derer returns  to  the 
first  theme. 

long  pause  again  on  the 
seventh  tone ;  the 
second  "  where  "  like 
an  echo. 

a     solemn     and    slowly 


descending  scale. 

"  there  " pause  (for  emphasis). 

"  where  thou  art  not  " 
"  there,  joy  is  found  " 


a  rest,  and  pause, 
ends  on  major  tonic 
chord.  The  accom- 
paniment has  two 
peaceful  measures  at 
the  end. 

Play  record  again  that  the  class  may  get  the  points 
clearly. 

Take  an  entire  lesson  period  for  the  study  of  this 
one  song.  Since  it  was  thoughtfully  composed  it 
must  be  thoughtfully  considered. 

Needless  to  add,  it  is  unnecessary  to  apply 
this  dissecting  process  to  every  art  song  to  find 


THE  ADOLESCENT  PERIOD  IO$ 

its  value ;  but  it  is  necessary  to  present  the 
subject  once  and  thoroughly  to  the  class  that 
it  may  realize  that  an  art  is  perfected  through 
detailed  treatment  —  or,  as  Michelangelo  ex- 
pressed it,  that  "  from  trifles  comes  perfec- 
tion." 

Among  other  art  songs  which  should  be 
thoughtfully  presented  to  the  class  are  : 

The  Erl  King.  —  Schubert.    A  5023  (C) ;  88342  (V) 

Read  an  English  translation  of  the  Goethe  poem. 
Picture  the  highly  dramatic  scene,  and  anticipate  the 
tonal  differences  in  the  dialogue  between  the  Child, 
the  Father,  and  Death. 

Elegie,  a  song  of  mourning.  —  Massenet 

Nothing  can  surpass  the  mood  of  sorrow  expressed 
in  this  "  finest  art  song  by  a  Frenchman."  Explain 
through  free  translation  the  thought  in  the  text. 
"  Spring  returns,  but  no  longer  is  it  green,  flowers  have 
no  fragrance,  the  birds  do  not  sing,  the  sky  is  not  blue, 
the  sun  does  not  shine,  not  a  friend  is  left,  all  are 
gone,  withered,  and  dead  forevermore."  It  is  the 
sorrow  of  one  who  lives  on  after  the  heart  is  dead  and 
life's  interest  is  passed. 

Play  89066  (V). 

Write  on  the  board  : 
Song  of  India. 

Read  the  English  translation  of  the  poem  (Appen- 
dix), which  is  an  apostrophe  to  one's  native  land. 


106  LISTENING  LESSONS  IN  MUSIC 

Explain  allusions  to  "  phoenix,"  "  bird  with  face  of 
maiden,"  "  Paradise  recalling,"  "  golden  flames 
advancing,"  etc.,  as  referring  to  the  sacred  bird  which 
came  out  of  Arabia  once  in  five  hundred  years,  burned 
itself  upon  an  altar,  and  arose  from  the  ashes  young 
and  beautiful.  It  is  an  emblem  of  immortality  — 
implied  in  the  words,  "  He  who  hears  that  singer  shall 
forever  linger." 

Note  the  delicacy  of  the  accompaniment,  and 
Oriental  character  of  the  melody  —  which,  by  the 
way,  is  based  upon  the  five-tone  scale. 

Play  64269  (V). 

Write  on  the  board:  "  Rimsky-Korsakoff  (1844- 
1912).  As  a  Russian  composer,  rank  him  second  only 
to  Tschaikowski." 

Write  on  the  board  : 

Rolling  down  to  Rio.  —  German. 

Draw  from  the  class  the  significance  of  the  title ; 
location  of  Rio. 

Recite  poem,  which  is  extracted  from  Kipling's 
"  Just  So  Stories."  Class  may  define  "  jaguar," 
"  armadillo  "  ;  also  characterize  the  sailor.  What 
kind  of  voice  should  sing  songs  of  the  sea  ?  "Bass." 
Arthur  Farwell  says  of  this  song,  "  It  smacks  of  the 
salt  sea  more  than  any  piece  since  the  '  Flying  Dutch- 
man.' " 

Play  64151  (V). 

Write  on  the  board  : 

A  May  Morning.  —  Denza. 

Recite  the  poem.     (See  Appendix.) 
What  moods  are  expressed  ? 


THE  ADOLESCENT  PERIOD  1 07 

'  Joy  and  love." 

What  kind  of  voice  should  sing  this  song  ? 

"  Tenor." 

What  kind  of  accompaniment  would  suit  the  spring 
thought  (restlessness  and  activity)  ? 

If  a  piano  is  in  the  classroom,  play  an  example  of 
the  commonplace  Alberti  bass  and  ask  if  it  would  add 
anything  to  the  words  or  to  the  voice  part. 

Play  64158  (V). 

Write  on  the  board  : 
Will-o'-the-Wisp.  —  Spross. 

Draw  from  the  class  the  meaning  of  the  title. 
(Ideas  of  different  pupils  are  often  amusing,  including 
a  flower,  a  fairy,  a  bird,  a  firefly,  etc.  Usually, 
however,  a  child  will  tell  of  the  dancing  fire  seen  over 
marshy  places.) 

Long  ago,  some  people  who  saw  this  little  flickering 
light  at  night,  would  say,  "  The  fairies  are  out  with 
their  lanterns."  Some  of  these  people  imagined  they 
were  bad  fairies  and  that  any  one  following  them 
might  be  led  into  the  forest,  or  down  to  the  sea ; 
others  imagined  them  to  be  good  fairies  who  might 
bring  good  luck.  There  is  a  little  poem  based  on  this 
idea.  It  became  the  inspiration  for  a  song.  Read 
poem.  (See  Appendix.) 

What  kind  of  voice  should  sing  this  song,  high 
or  low  ? 

What  should  be  the  tempo,  fast  or  slow  ? 

Should  the  notes  be  long  or  staccato  ? 

Why  short  and  staccato  ? 

"  Because  the  little  firefly  is  always  darting  about." 

There  is  one  word  near  the  close,  which  should  be 
long. 

"Come!" 


108  LISTENING  LESSONS  IN  MUSIC 

Tell  that  the  composer,  an  American,  plays  the 
accompaniment. 

Play  64192  (V);   or  A  1179  (C). 

Write  on  the  board  : 

The  Pauper's  Drive.  —  Sidney  Homer. 

Ask  the  class  :  How  poor  is  a  pauper  ?  True,  "  he 
hasn't  any  money  "  ;  but  that  isn't  as  bad  as  the 
fact  that  he  hasn't  any  friends  and  has  finally  died, 
alone,  in  the  poorhouse,  and  nobody  cares. 

Read  poem  (Appendix). 

What  kind  of  voice  would  be  suited  to  this  solemn 
thought  ?  Yes,  and  it's  really  too  bad  that  the  poor 
bass  must  bear  the  burden  of  singing  the  songs  of 
despair  and  hopelessness ;  but  since  this  type  of 
voice  is  dark  and  like  the  night,  it  is  associated  with 
lower  influences. 

The  class  may  be  reminded  again  that  "  music 
must  be  truthful."  There  are  five  stanzas.  The 
first  four  contain  the  same  kind  of  thought,  but  a 
marked  change  occurs  in  the  last  stanza.  The 
character  of  the  music  must  change  also ;  but  there 
is  no  reason  why  the  same  melodic  scheme  would 
not  do  for  the  first  four  stanzas.  Tell  class  there  is 
a  special  word  (strophic)  for  a  song  in  which  several 
stanzas  have  the  same  tune.  Note  the  descriptive 
effect  in  the  accompaniment  with  the  words  : 

"The  road  it  is  rough  and  the  hearse  has  no  springs" 

"What  a  jolting  and  creaking  and  splashing  and  din ! 
The  whip  how  it  cracks !  and  the  wheels  how  they  spin !" 

Play  35285  (V),  or  A  5166  (C). 
Tell  the  class  that  the  composer  is  an  American 
who  has  written  many  good  songs. 


THE  ADOLESCENT  PERIOD  109 

"  The  Pauper's  Drive "  never  fails  to  touch 
the  heart  of  the  class  by  its  genuine  portrayal 
of  a  poor  friendless  character,  and  the  musical 
setting  is  filled  with  the  despair  which  the  sub- 
ject requires. 

From  a  long  list  of  additional  songs,  suited 
to  interest  boys  and  girls  of  this  period,  and 
of  infinite  variety,  the  following,  not  mentioned 
elsewhere,  are  suggested.  In  so  fertile  a  field,  it 
has  been  difficult  to  choose  the  few  for  these 
pages. 

Danny  Deever.  —  Damrosch,  35476  (V)  ;  A 
5021  (C) ;  50067  (E),  is  a  well-conceived  song 
inspired  by  the  Kipling  text. 

The  Pirate.  —  Gilbert,  64472  (V) ;  A  5019  (C), 
is  a  wonderful  character  study  in  tones  based 
on  the  poem  of  Robert  Louis  Stevenson. 
(Words  in  Appendix.) 

Clang  of  the  Forge.  —  Rodney,  64037  (V) ; 
A  332  (C),  is  melodious  and  pleases  the  class, 
since  it  contains  much  of  the  purely  descriptive. 

Oh  That  We  Two  Were  Maying.    A  5657  (C) ;  82510  (E) ; 

87110  (V) 

Thy  Sentinel  Am  I.    A  5344  (C) ;  17422  (V) 
Two  Grenadiers.    A  5471  (C) ;  31740  (V) 
Venetian  Song.     16417  (V) 
Wanderer's  Night  Song.     16417  (V) ;  A  1127  (C) 
Asleep  in  the  Deep.     17309  (V) ;  A  986  (C) 
Bendemeer's  Stream.    80109  (E) ;  A  1272  (C) ;  74278  (V) 


1 10  LISTENING  LESSONS  IN  MUSIC 

The  Nightingale's  Song.    80156  (E) 

Oh  Happy  Day.     80156  (E) ;  17343  (V) ;  A  5373  (C) 

Berceuse  ("  Jocelyn").    64233  (V) ;  A  5439  (C) 

The  enthusiastic  teacher  will  add  many  others 
to  those  mentioned  and  whenever  possible 
relate  them  to  other  interests. 

This  point  must  be  emphasized.  The  words 
should  always  be  given  before  the  music  is  heard. 
If  the  words  have  special  merit,  the  teacher 
may  place  them  on  the  board  for  the  class  to 
follow  as  the  song  is  sung.  (Particularly  is 
this  true  in  a  master  song  like  "  The  Wan- 
derer," which  artists  prefer  to  sing  in  the 
original  text.) 

An  exception  to  the  rule  that  the  understand- 
ing of  the  words  is  essential  to  the  intelligent 
criticism  of  a  song,  is  found  in  the  florid  style 
of  singing  called  "  coloratura."  This  kind  of 
song  is  intended  for  vocal  display,  and  words 
are  of  small  importance,  the  syllable  la  being  all 
that  is  really  necessary.  While  this  style  of 
singing  dazzles  the  unthinking  public,  it  should 
not  receive  applause  upon  the  ground  of  con- 
veying any  superior  musical  message. 

The  coloratura  singer  is  a  vocal  athlete,  who 
has  acquired  great  ability  through  persistent 
training,  and  who  places  her  superior  technique 
above  the  real  art  of  song. 


THE  ADOLESCENT  PERIOD  III 

The  coloratura  song  is  little  else  than  a  series 
of  trills,  scales,  turns,  and  various  embellish- 
ments and  may  be  compared  to  senseless  orator- 
ical flights. 

Proch's  Air  and  Variations,  88307  (V),  serves 
well  for  illustration.  The  simple  and  inane 
tune  heard  in  the  opening  measures,  merely 
serves  as  a  medium,  and  is  not  enhanced  by  its 
elaborate  embellishments. 

In  connection  with  the  study  of  songs,  the 
tonal  quality  should  always  be  noted.  As 
preliminary,  the  teacher 'should  draw  from  the 
class  the  different  kinds  of  voices  (soprano,  alto, 
tenor,  bass,  and  baritone),  and  should  further 
distinguish  special  types ;  as,  lyric  from  dra- 
matic soprano;  or,  lyric  from  robust  tenor;  or, 
basso  pro/undo  from  basso  cantante. 

The  peculiar  song,- called  the  "  yodel,"  should 
be  explained.  This  is  caused  by  the  abrupt 
changes  from  the  chest  voice  to  the  falsetto, 
thus  skipping  over  the  middle  tones.  The 
yodel  is  also  called  the  "  Tyrolienne  "  from  its 
association  with  Tyrolese  singers. 

Alpine  Specialty,  16968  (V),  illustrates  this  dis- 
tinctive singing. 

The  teacher  may  ask  the  boys  to  name  sub- 
jects particularly  suited  to  the  bass  voice  (de- 
spair, winter,  the  ocean,  eternity,  etc.) ;  and 


112  LISTENING  LESSONS  IN  MUSIC 

to    the    tenor    voice    (love,    hope,    happiness, 
spring,  the  ideal,  etc.). 

(Songs  extracted  from  opera  and  oratorio  are 
mentioned  under  those  special  heads.) 

(b)  Opera. 

(i)  As  a  form. 

This  composite  form  has  the  interest  of 
drama,  music,  scenery,  and  action  supported 
by  the  orchestra. 

It  contains  the  two  elements,  lyric  and  dra- 
matic, and  in  its  history  of  three  hundred  years 
has  emphasized  first  one  and  then  the  other.  In 
a  well-conceived  opera,  the  two  factors  should 
be  well  balanced.  Necessarily  the  text  or 
libretto  is  of  basic  importance,  —  music  and 
other  accessories  merely  serving  to  "  vitalize 
the  text."  This  important  truth  was  impressed 
upon  the  world  by  the  great  reformer,  Richard 
Wagner,  and  in  such  a  manner  that  all  recent 
composers  of  this  form  have  shown  the  influence 
of  his  teaching. 

The  opera  is  a  popular  musical  form,  and 
from  its  beginning  has  been  fostered  by  fash- 
ionable society.  Consequently,  it  has  suffered 
the  decrees  of  fashion,  the  old  giving  place 
to  novelty.  In  the  Bibliotheque  Nationale 
—  one  of  the  world's  great  libraries  —  are  the 


THE  ADOLESCENT  PERIOD  113 

scores  of  twenty-eight  thousand  operas  (in- 
cluding the  first  opera,  "  Euridice,"  written 
by  Peri,  an  Italian,  in  the  year  1600  in  celebra- 
tion of  the  marriage  of  Henry  IV  of  France 
with  Maria  de  Medici).  Of  this  prodigious 
number,  less  than  two  hundred  are  found  to- 
day in  standard  repertoire  of  the  world's  great- 
est opera  houses  (Gluck's  "  Alceste,"  written 
in  1767,  being  the  oldest  opera  performed  at 
the  present  time). 

Few,  indeed,  of  the  operas  contain  stories  fit 
for  the  schoolroom.  It  is  a  regrettable  fact 
that  the  usual  operatic  text  is  either  inane  or 
immoral. 

For  the  intelligent  understanding  of  an  opera, 
familiarity  with  the  text  is  necessary.  If  it 
cannot  be  told,  then  the  work  is  reduced  to  a 
level  of  mere  vocal  entertainment. 

There  are  a  few  operas,  however,  suitable  for 
eighth  grade  and  high  school  which  may  be 
presented  by  using  the  libretto  to  connect  the 
text  with  phonograph  records.  From  a  small 
may  be  mentioned  : 

"  Hansel  and  Gretel  " 

"  Konigskinder  " 

"  Le  Jongleur  de  Notre  Dame  " 

"  Aida  " 


114  LISTENING  LESSONS  IN  MUSIC 

"  II  Trovatore  " 

"  Lohengrin  " 

"  Flying  Dutchman  " 

"  Mignon  " 

"  Tales  of  Hoffmann  " 

"  Natoma  " 

and  the  three  immortal  comedies : 

"  Barber  of  Seville  " 

"  Marriage  of  Figaro  " 

"  Meistersinger  of  Nuremberg  " 

Of  the  ballad  operas  having  suitable  text 
should  be  mentioned : 

"  Fra  Diavolo  " 

"  Martha  " 

"  Bohemian  Girl " 

(2)  Selections. 

Many  operas  not  appropriate  for  school 
contain  certain  set  numbers  which  may  be  re- 
moved from  the  main  work.  Familiarity  with 
such  forms  an  important  part  of  one's  educa- 
tion. From  a  wealth  of  material  the  following 
selections  are  listed  as  having  particular  interest : 

"  Aida  "  —  Celeste  Aida  55045  (V) ;  A  679  (C) 

Farewell,  O  Earth  74398  (V) 

The  Fatal  Stone  35150  (V) 

"  The  Barber  of  Seville  "  —  Largo 

al  Factotum  88181  (V) ;  A  1643  (C) 


THE  ADOLESCENT  PERIOD 


1  Bartered  Bride  "  —  Overture 
;  La  Boheme  "  —  Thou  Sweetest 

Maiden 

Musette's  Waltz 
Carmen  "  —  Toreador  Song 
Flower  Song 
Selection  (Band) 
Cavalleria         Rusticana  "  — 

Intermezzo 

Don  Giovanni  "  (Don  Juan)  — 
Open  Thy  Window,   Love 
Minuet 
Faust  "  —  Soldiers'  Chorus 

Waltz 

Flying    Dutchman  "  —  Over- 
ture 

Senta's  Ballad 
La  Gioconda  "  —  Star  of  the 

Mariner 

Dance  of  the  Hours 
Hansel    and    Gretel  "  —  The 

Old  Witch 
The  Witches'  Dance 
The  Sandman 

Les    Huguenots  "  —  Benedic- 
tion of  the  Swords 
Lohengrin  "  —  Elsa's  Dream 
Prelude,  Act  in 
Bridal  Chorus 

Louise  "  —  Depuis  le  jour 
Lucia  "  —  Sextette 
Mad  Scene 

Lucrezia       Borgia  "  —  It      Is 
Better  to  Laugh 


354i8  (V) 

875"  (V) 
64085  (V) 
88327  (V) 
74122  (V) 


A  5185  (C) 
A  5397  (C) 
A  5125  (C) 
A  5721  (C) 


16575  (V) ;  A  5144  (C) 
17311  (V) ;  A  5159  (C) 


87112  (V) 
35o6o  (V) 
74214  (V) ; 
16552  (V) 


A  1493  (C) 


31787  (V)  ;  A  5253  (C) 
88116  (V) 

64442  (V) 

35087  (V)  ;  S  7511  (C) 

64164  (V) 
87131  (V) 
88419  (V) 


74275  00 
88038  (V)  ; 
62693  (V)  ; 
16538  (V)  ; 
54H  (C) 
70085  (V)  ; 
70036  (V)  ; 
88299  (V) 


A  5281  (C) 
A  5665  (C) 
31846  (V)  ; 

A  5440  (C) 
A  5053  (C) 
55047  (V)  ? 


A  5295  (C) 
64468  (V)  ;  A  1643  (C) 


LISTENING  LESSONS  IN  MUSIC 


:  Madame  Butterfly  "  —  Some 

Day  He'll  Come 
Duet  of  the  Flowers 
Selections  (Band) 
:  Magic  Flute  "  —  Overture 
Manon  "  —  The  Dream 
Martha  "  —  Good       Night 

Quartet 
Die  Meistersinger  "  —  Prelude 

Prize  Song 
Mignon  "  —  Knowest      Thou 

the  Land 
Polonaise         (I'm        Fair 

Titania) 
Gavotte 

Natoma  "  —  Vaquero's  Song 
Norm  a  "  —  Hear  Me,  Norma 

(Band) 
Orpheus    and    Eurydice  "  —  I 

Have  Lost  My  Eurydice 
Pagliacci  "  —  Prologue 

On  with  the  Play 
Parsifal  "  —  Processional     of 

the  Knights 
;  Queen  of  Sheba  "  —  Lend  Me 

Your  Aid 

Rigoletto  "  —  Dearest  Name 
Woman  Is  Fickle 
Quartet 

Samson  and  Delilah  "  —  My 
Heart  at  Thy  Sweet 
Voice 

Semiramide  "  —  Overture 
Tales  of  Hoffmann  "  —  Barca- 
rolle 


;  A  5250  (C) 

;  A  5049  (C) 
;  A  5051  (C) 
;  A  689  (C) 


17226  (V) 
68207  (V) 
74"5  (V) 


;  A  5462  (C) 
5  A  5395  (C) 
91083  (V) ;  30475  (C) 


88296  (V) 
16323  (V) 
5871  (V) ; 


;  A  5448  (C) 
;  A  5259  (C) 

A  1070  (C) 


16323  (V) ;  A  5536  (C) 

88091  (V) 

88326  (V) ;  A  5547  (C) 

88161  (V) ;  A  679  (C) 


31735  (V) 

64096  (V) 
88078  (V) 
64072  (V) 


A  5348  (C) 
A  558o  (C) 
A  1286  (C) 


55066  (V) ;  A  5306  (C) 

88184  (V) ;  or  17216  (V) 
(Cornet);  A  5533  (C) 

31527  (V) ;  A  5054  (C) 
17311  (V) ;  A  1214  (C) ; 
5754  (V) 


THE  ADOLESCENT  PERIOD 


117 


"  Tannhauser  "  —  Overture 

Pilgrims'  Chorus 

March 

Elizabeth's  Prayer 

Song  to  the  Evening  Star 
"  Thais  "  —  Meditation 

Love  Is  a  Virtue  Rare 
"  Tosca  "  —  Love  and  Music 
"  Traviata  "  —  The      One      of 

Whom  I  Dreamed 
"  Tristan    and    Isolde  "  —  Pre- 
lude 

Isolde's  Love-Death 

"  Trovatore  "  —  Anvil  Chorus 
Tempest  of  the  Heart 
Miserere  (I  Have  Sighed  to 

Rest  Me) 
Home  to  Our  Mountains 

"  Valkyrie  "  —  Siegmund's  Love 

Song 

Ho-yo-to-ho 
Ride  of  the  Valkyries 
Magic  Fire  Spell 

"  William  Tell  "  —  Overture 


31382,  31383  (V) ; 

A  5337  (C) 

16537  (V) ;  A  5530  (C) 
16514  (V) 
35096  (V) 
17446  (V) 
74135  (V) 


A  5054  (C) 


A  547i  (C) 
A  5ii5  (C) 

A  5440  (C) 

88075  (V) ;  A  5587  (C) 


70094  (V) ;  A  5284  (C) 

68210  (V) 

68210  (V) ;  55041  (V) ; 

A  5464  (C) 

17563  (V) ;  A  5667  (C) 
16521  (V) ;  A  5570  (C) 
35433  (V);  16371  (V) ; 

A  10  (C) 
89060  (V) ;  35443  (V) ; 

A  5370  (C) 

88276  (V) ;  A  5382  (C) 
87002  (V) ;  A  1451  (C) 
62693  (V) ;  A  5433  (C) 
35387,  35448  (V) ; 

A  5594  (C) 
35120,  35121  (V)  ; 

A  5236,  5237  (C) 


(c)  Oratorio. 

(i)  As  a  form. 

This  musical  drama  consists  of  set  pieces 
(as  arias,  duets,  choruses,  etc.),  joined  together 
by  recitative,  or  spoken  song. 


Il8  LISTENING  LESSONS  IN  MUSIC 

It  is  given  in  concert  form  with  orchestral 
accompaniment,  but  without  scenery,  costum- 
ing, or  acting. 

The  text  is  sacred  and  usually  based  upon 
Biblical  themes. 

The  name  comes  from  the  oratory  of  the 
church,  where  it  was  first  performed.  Its  his- 
tory begins  about  the  year  1600  when  an  Ital- 
ian monk  wished  to  make  the  church  service 
more  attractive.  Its  prime  purpose,  however, 
is  forgotten ;  for  the  oratorio  to-day  has  little 
connection  with  religious  service,  being  given 
to  secular  audiences  in  concert  form. 

The  oratorio  is  not  an  idle  entertainment 
(as  are  many  other  kinds  of  music),  but  appeals 
to  one's  highest  nature,  creating  desire  for 
something  far  beyond  the  material. 

The  absence  of  action  and  scenery  makes 
the  music  appeal  solely  to  the  ear,  rather  than 
to  the  eye,  as  in  opera.  As  compared  with 
opera,  which  is  theatrical,  oratorio  is  dramatic. 
The  chorus  is  the  most  important  feature  of 
oratorio. 

It  is  a  valuable  part  of  one's  education  to 
have  sung  in  the  choruses  of  "The  Messiah," 
"  Elijah,"  and  "  The  Creation  " ;  but,  whether  or 
not  such  works  as  a  whole  are  introduced  into  the 
high  school  music  course,  it  is  desirable  that  well- 


THE  ADOLESCENT  PERIOD 


1X9 


known  extracts  from  the  great  oratorios  should 
be  heard  often  enough  to  become  familiar. 

(2)  Selections. 

"  Creation  "  —  The      Heavens 

Are  Telling  35484  (V) 

With  Verdure  Clad  60055  (V) ;  A  5421  (C) 

"Elijah"  — If   with.  All   Your 

Hearts  74088  (V) ;  A  5323  (C) 

Lift  Thine  Eyes  17211  (V) 

Oh,  Rest  hi  the  Lord  74290  (V) ;  A  5342  (C) 

"  Judas   Maccabaeus  "  —  Sound 

an  Alarm  74131  (V) 

"  Messiah  "  —  Comfort  Ye  My 

People  74190  (V) ;  A  5506  (C) 

Hallelujah  Chorus  31770  (V) ;  A  5328  (C) 

He  Shall  Feed  His  Flock         85103  (V) ;  A  5342  (C) 
I  Know  That  My  Redeemer 

Liveth  70071  (V) 

"  Redemption  "  —  Unfold,     Ye 

Portals  35075  (V) 

"  Samson  "  —  Total  Eclipse  (No 

Sun !  No  Moon !)  74403  (V) 

Honor  and  Arms  A  5332  (C) 

"  Saul  "  —  Dead  March  16980  (V) 

"  St.  Paul  "  —But  the  Lord  Is 

Mindful  of  His  Own  88191  (V) 

"  Stabat  Mater  "  —  Cujus  Ani- 

mam  35*57  (V) ;  5275  (C) 

Inflammatus  70037  (V) ;  5275  (C) 

Closely  associated  in  religious  character  are 
the  great  Masses.  Among  choruses  from  this 
class  are  suggested : 


120  LISTENING  LESSONS  IN  MUSIC 

"Twelfth   Mass"    (Mozart)  — 

Gloria  A  5355  (C);  31589  (V) 

"Messe  Solennelle"  (Gounod)— 

Sanctus  A  5338  (C) ;  35110  (V) 

II.  Instrumental  Music. 

In  introducing  this  subject,  make  this  brief 
and  definite  statement : 

Broadly  speaking  there  are  two  kinds  of  art  music 
(the  teacher  may  arrange  on  the  board  two  columns 
and  write  therein  the  italicized  words,  as  explana- 
tion is  made  upon  the  two  divisions  of  this  subject)  : 
absolute  and  program,  terms  corresponding  closely  to 
Classical  and  Romantic  periods  in  musical  history; 
in  the  first  of  which,  form  (or  design)  is  emphasized, 
and  in  the  second,  content  (or  expression). 

Absolute  music  is  pure ;  it  depends  upon  nothing 
but  its  own  beauty.  That  beauty  is  expressed 
formally  through  prescribed  outlines  which  were 
considered  essential  by  composers  of  the  eighteenth 
century.  Form  was  placed  above  content  and  as 
the  perfection  of  form  is  an  intellectual  process,  this 
kind  of  music  makes  an  intellectual  appeal. 

This  music  reached  its  highest  expression  in  the 
eighteenth  century  through  Bach,  Handel,  Haydn, 
Mozart,  and  Beethoven  (who  closed  the  Classical  Era 
about  1804  and  also  introduced  the  Romantic). 

"The  Classical  period  in  music  expresses  pure 
beauty  in  symmetrical  form." 

Program  music  places  content  above  form  and 
may  be  merely  suggestive  and  poetic,  or  realistic, 
with  an  aim  at  definite  story  telling.  It  is  free  from 
formalism.  A  romantic  composer  makes  a  new  form 


THE  ADOLESCENT  PERIOD  121 

for  his  emotional  need  instead  of  an  intellectual 
outline. 

Among  romantic  composers  of  the  nineteenth  cen- 
tury who  should  be  remembered  are  Schubert, 
Schumann,  Mendelssohn,  Chopin,  Liszt,  and  Wagner. 

An  analogous  illustration  may  be  made  through 
two  kinds  of  poetry ;  as,  for  example,  between  a 
sonnet  and  blank  verse.  It  is  all  poetry ;  but  in  one, 
the  thought  is  formally  expressed.  There  must  be 
fourteen  lines  rhymed  according  to  certain  rules  and 
having  certain  meter.  There  must  be  a  single 
thought  expressed  in  two  successive  phrases,  one  of 
which  is  contained  in  the  first  eight  lines,  the  other 
in  the  closing  six  lines.  (Read  a  sonnet.) 

Blank  verse,  on  the  other  hand,  has  a  free  form  and 
few  restrictions  upon  its  mode  of  expression  —  the 
poetic  content  being  of  first  consideration. 

The  title  of  an  instrumental  composition  has  a 
peculiar  significance.  Upon  a  printed  program  ab- 
solute music  maybe  designated  merely  as  "Sonata," 
"Opus  42,"  "Allegro,"  "Andante,"  and  the  like; 
in  other  words  the  title  would  give  no  clew  to  the 
character  of  the  work. 

On  the  other  hand,  program  music  has  a  title  or 
printed  program  notes  which  indicate  its  character  and 
offer  a  key  to  its  content ;  as  "  The  Spinning  Song," 
"  Funeral  March  of  a  Marionette,"  "  Dance  of  the 
Toy  Pipers,"  etc.,  —  in  other  words  subjects  having 
emotional  character  and  demanding  freedom  in  form. 

Absolute  music  has  few  and  simple  themes  and 
consequently  is  easily  followed.  Romantic  music 
has  many  themes,  fragmentary  melody,  and  the 
form  depends  upon  the  outline  of  the  story,  making 
it  more  difficult  to  follow,  and  also  making  it  some- 
what essential  to  know  in  advance  the  design  in  the 
composer's  mind. 


122  LISTENING  LESSONS  IN  MUSIC 

With  this  introduction,  take  up  the  lesson 
upon  absolute  music. 

(a)  Absolute. 

The  main  object  of  the  first  lesson  is  to  teach 
the  class  to  follow  the  phrase  and  learn  what 
the  composer  does  with  it  (as  form  is  created). 

Review  the  lesson  on  form  (page  66),  evolving  the 
same  diagram  upon  the  blackboard  which  shows  the 
the  arrangement  of  phrases  in  the  French  Rondo, 

Amaryllis,  16474  (V). 

This  composition  is  made  of  three  musical  phrases 
expressed  always  in  the  same  way  and  without  any 
development. 

The  next  illustration  should  contain  the  de- 
velopment of  the  phrase. 

In  illustration,  use  the  Andante  movement  of  the 
Haydn  Surprise  Symphony,  35243   (V). 
Write  on  the  board  the  first  theme  : 

do  do  mi  mi  \  so  so  mi  -  | 
fa  fa  re  re  \  ti_t±sp_-  \ 
do  do  mi  mi  \  so  so  mi  -  \ 
do  dofifi  |  so  -  so  -  | 

2 

Have  the  class  sing  it.     (Key  C,  -,  Andante.) 

Explain  that  this  theme  may  be  expressed  through 
different  keys  and  with  considerable  variety,  but  its 
identity  must  never  be  lost. 


THE  ADOLESCENT  PERIOD  123 

As  the  record  is  played,  ask  the  class  to  count 
every  time  it  can  be  distinguished.  Answers  will 
vary,  therefore  play  again  and  mark  on  the  board 
each  recurrence  of  the  theme. 

Note  the  formal  closing  in  which  one  can  easily 
imagine  the  etiquette  observed  by  "  Papa  "  Haydn 
at  the  Esterhazy  Court. 

Note  other  musical  phrases  in  the  movement  and 
speak  of  their  need  to  give  variety. 

The  teacher  may  explain  the  abrupt  chord  in  the 
Andante  movement  which  gives  name  to  the  sym- 
phony, and,  furthermore,  illustrates  Haydn's  sense 
of  humor.  (The  explosive  chord  was  to  waken  those 
who  went  to  sleep  during  the  slow  movement  of  the 
Symphony.) 

Play  the  Allegro  (on  the  reverse  side  of  this  record) 
and  have  the  class  follow  the  first  theme.  Play 
again  and  follow  second  theme. 

Associate  this  work  with  the  glorious  age  of  the 
symphony.  Haydn  himself  wrote  one  hundred  and 
twenty-five  compositions  in  this  form.  Have  some 
member  of  the  class  tell  briefly  the  main  events  in 
Haydn's  life.  Another  member  of  the  class  may 
write  on  the  blackboard  names  of  his  most  important 
compositions. 

Impress  this  fact,  that  Haydn  is  called  the  "  Father 
of  the  Symphony,"  since  he  created  the  form. 

Play  Minuet.  —  Mozart,  35060  (V). 

How  many  themes  ? 

Diagram,  showing  their  arrangement. 

For  further  study  of  absolute  music,  use  Mozart's 
Symphony  in  G  Minor,  35482  (V) ;  35489  (V). 

Have  the  class  comment  briefly  upon  the  life 
and  works  of  Mozart. 


124  LISTENING  LESSONS  IN  MUSIC 

For  further  consideration  of  this  subject,  see  les- 
son on  the  symphony  (page  166). 

—  I 

(b)  Program  Music. 

In  introducing  this  subject  review  the  points 
which  make  clear  its  distinction  from  absolute 
music  (page  120).  The  object  of  this  lesson  is 
to  teach  the  class  to  follow  the  phrase-idea  and 
to  find  how  the  composer  elaborates  it. 

Write  on  the  board  : 
Rustle  of  Spring.  —  Binding. 

Since  the  title  gives  a  clue  to  the  character  of  the 
music,  the  class  may  anticipate,  in  a  general  way, 
the  music  which  shows  a  restlessness  and  joyousness 
belonging  to  spring,  and  furthermore,  which  has  a 
poetic  quality  not  possible  in  absolute  music. 

Write  on  the  board  : 

la  -  mi.  la  \  so  -  do.  re  \  mi  - 

Have  the  class  sing  this  phrase  twice  in  rapid  tempo. 

Play  35448  (V);  A  1151  (C). 

The  teacher  stands  by  the  blackboard  and  points 
to  the  phrase  or  portion  of  it,  whenever  it  is  heard. 

At  the  close  of  record,  the  teacher  makes  several 
points  clear  —  drawing  as  much  as  possible  from  the 
class. 

In  /orra,  it  contains  a  single  phrase-idea,  which  is 
given  florid  treatment  (principally  through  scales). 
The  phrase  itself  is  not  extended  or  developed.  Its 
variety  is  gained  through  a  series  of  modulations  (or 
changing  keys). 


THE  ADOLESCENT  PERIOD  125 

Its  content  is  emotional  and  poetic.  The  hope  and 
joy  (associated  with  the  thought  of  spring)  are  found 
in  the  ascending  do  -  re  -  mi  at  close  of  phrase. 

Sinding,  born  1856,  ranks  second  only  to  Grieg 
among  Norwegian  composers. 

The  Liebestraum,  based  on  a  single  theme,  may 
be  used  as  a  variant  with  the  preceding. 

The  board  theme  is  : 

so_-\mi-  -  mi  -  mi  -  -  mi  -\  mi  -  -  mi  -  fa  -  -  mi  -  | 
mi  -  -  /£_-  la_-  ti_-  do-  \  mi  -  -  re  -  do  -  -  - 

Record  70065  (V) ;   A  5374  (C) ;  A  5443  (C). 
Associate  its  composer,  Franz  Liszt  (1811-1886), 
with  the  most  elaborate  program  music. 

Narcissus,  16029  (V) ;  S  3009  (C),  used  in  former 
lesson  (page  51),  contains  two  ideas,  based  not  upon 
the  phrase,  but  the  emotional  content.  The  pleasing 
tune  representing  the  boy  is  a  complete  idea,  but  one 
does  not  think  of  phrase.  The  transformation  of  the 
boy  into  a  flower  is  the  second  idea.  To  further  dis- 
sect this  piece  would  rob  it  of  interest  and  destroy 
its  beauty. 

Write  on  the  board  : 

Valse  Triste.  —  Sibelius. 

Ask  the  class  what  conception  is  formed  from  the 

-7 

title,   "  A  Sad   Waltz "    (only  the  2  measure    and 

4 

sorrowful  character).  The  emotional  outline  must 
be  gained  from  program  notes.  The  teacher  will 
narrate  the  story  (Appendix)  —  which  the  music 
follows  closely.  The  emotional  idea  is  much  greater 
than  the  phrase-idea,  and  the  class  will  observe  that 


126  LISTENING  LESSONS  IN  MUSIC 

program  music  cannot  be  analyzed  minutely  as  can 
absolute  music.     Record  74402  (V). 

Write  on  the  board : 
The  Butterfly.  —  Grieg. 

This  composition  is  not  to  be  analyzed,  since  the 
title  alone  suggests  its  exquisitely  delicate  and 
fluttering  character.  The  class  will  appreciate  its 
poetic  and  emotional  quality.  A  1151  (C);  35448 
(E) ;  60048  (V). 

Write  on  the  board  : 
Dance  of  the  Trolls.  —  Grieg. 

This  composition  (described  on  page  50)  is  an 
excellent  example  of  program  music  having  form  and 
content  so  clear  that  they  may  be  described  by  the 
class. 

Write  on  the  board  : 

Funeral  March  of  a  Marionette.  —  Gounod. 

This  composition  has  been  described  on  page  46. 
The  music  contains  the  several  ideas  found  in  the 
story.     31081  (V);    A  1211  (C). 

Write  on  the  board  : 

The  Bee.  —  Schubert. 
Minute  Waltz.  —  Chopin. 

Record  64076  (V)  contains  two  short  numbers 
played  as  violin  solos.  These  titles  are  suggestive, 
and  the  class  may  speculate  as  to  their  character. 
"  The  first  will  go  fast  and  buzz  from  start  to  finish, 
for  tjiat's  the  way  a  bee  does,"  say  the  children. 

3 

The   second   will   be   short   and  in  —  measure  with 

4 


THE  ADOLESCENT  PERIOD  127 

accent  on  the  first  beat.  The  teacher  may  then  add 
the  program  notes  which  explain  the  other  title  to 
this  composition,  namely,  "  Little  Dog  Waltz." 
As  the  story  goes,  Chopin  saw  a  small  dog  chasing 
its  tail  and  it  occurred  to  him  that  the  same  idea 
could  be  expressed  in  music  by  starting  on  one  tone 
and  simply  revolving  around  it. 

The  teacher  may  illustrate  by  singing  in  rapid 
tempo  and  using  la  to  the  following  theme : 

So-fi  so  ti  la  |  fi  so  la  so  ti  la\fi  so  ti  la  fi  so  \  ti  la  fi 

so  ti  la  |  fi  so  ti  lafisol 

This  is  a  homely  and  simple  idea,  which  required  the 
genius  of  a  Chopin  to  make  into  an  enduring  com- 
position. 

Needless  to  say,  this  waltz  could  not  be  used  for 
dancing.  The  class  may  be  told  that  the  simple  form 
when  given  artistic  treatment  as  in  the  above  exam- 
ple becomes  an  idealized  waltz  form. 

Write  on  the  board  : 

Processional  of  Knights  of  the  Holy  Grail.     ("  Parsifal ")  — 
Wagner. 

The  class,  having  read  the  stories  of  King  Arthur 
and  Knights  of  the  Round  Table,  know  of  Percival 
(or  Parsifal).  Create  interest  in  the  leit-motif  by 
telling  of  the  little  musical  tunes  or  phrases  which  are 
associated  with  certain  characters,  places,  incidents, 
or  emotions  in  the  story.  The  composition  begins 
with  chimes,  accompanying  the  procession  of  Knights 
and  boys  who  sing  as  they  march. 

There  are  three  important  themes  which  may  be 
written  on  the  board  and  sung  by  the  class  before 
hearing  the  record. 


128  LISTENING  LESSONS  IN  MUSIC 

Knights : 

do.  do  \  so-  Za-  mz  -  do.  do  \  so  -  la_-  mi  - 

Parsifal : 
mi  -  |  fa  -  -  ff  -  - 1  so  -  do  -  -  mi  -  [  la  -  -  re  -  -  \  fa  —  - 1 

mi  -.  la_  /£  -  -  |  to  -  la_-  -  ti_-  \  di 

Grail : 

so  -  -  la_  -.  do  |  do  -  -  re  mi  fa  so  \  so  -  - 

The  interest  is  increased  if  one  of  the  pupils  stands 
by  the  board  and  points  to  the  motives  as  the  record 
is  being  played.  The  teacher  may  ask  different  ones 
to  do  this  as  a  sort  of  test  and  to  convince  the  entire 
class  of  the  possibility  of  following  the  definite 
themes. 

Play  31735  (V). 

Pilgrims'  Chorus  (described  under  "  Tannhauser 
Overture,"  page  172)  is  a  pleasing  number  of  program 
music  having  religious  content.  A  5337  (C) ;  31382 
(V). 

Three  examples  of  program  music  from  "The  Val- 
kyrie," and  closely  associated  are  : 

Ride  of  the  Valkyries  A  5433  (C) ;  62693  (V) 
Brunnhilde's  Battle  Cry  A  1451  (C) ;  87002  (V) 
Magic  Fire  Scene  A  5594  (C) ;  35448  (V) 

(See  Appendix  for  explanatory  note.) 
Other  examples  of  program  music  to  be  reviewed 
and  associated  with  this  phase  of  the  subject  are : 

Marche  Slave  (page  143). 

Danse  Macabre,  35381  (V) ;  A 1836  (C)  (Appendix). 
Dance  of  the  Chinese  Doll,  and  Dance  of  the  Toy 
Pipers;  45053  (V)  (page  180). 
Chopin  Funeral  March  (page  44). 


THE  ADOLESCENT  PERIOD  129 

A  rearrangement  for  any  instrument,  of  a 
composition  not  originally  designed  for  that 
instrument,  is  called  a  transcription. 

This  method  of  treatment  requires  unusual 
musicianship  if  the  original  form  is  to  be 
strengthened  and  the  artistic  quality  of  the 
original  is  to  be  preserved.  Unfortunately, 
it  has  been  so  widely  employed  by  the  incom- 
petent as  to  be  in  disfavor. 

Among  artistic  transcriptions,  the  following 
are  suggested  : 

Hark  !  Hark  !  the  Lark.     88357  (V) 

Originally  a  song  by  Franz  Schubert  and  elab- 
orated for  the  piano  by  Franz  Liszt.  (Liszt, 
by  the  way,  has  perhaps  been  the  most  success- 
ful composer  of  this  style.) 

Magic  Fire  Spell.    35448  (V) 

An  orchestral  extract  from  "The  Valkyrie,"  a 
musical  drama  by  Richard  Wagner,  and  adapted 
for  the  piano  by  Louis  Brassin. 

. 
Lucia  Sextette.    35223  (V) 

A  vocal  concerted  number  from  the  grand  opera, 
"  Lucia  di  Lammermoor "  by  Donizetti,  and 
arranged  by  Himmelreich  for  piano  solo  to  be 
played  by  the  left  hand  only. 


130  LISTENING  LESSONS  IN  MUSIC 

Somewhat  allied  to  the  transcription  are 
pieces  in  which  a  theme  is  given  variations. 
This  sort  of  composition  has  become  so  hack- 
neyed and  cheap  as  to  be  intolerable  to  those 
who  sense  musical  values. 

In  the  Adolescent  Period,  however,  boys  and 
girls  do  like  pieces  with  variations.  The  ex- 
planation may  lie  in  the  fact  that  at  this  age 
they  like  to  adorn  themselves ;  hence  ornamen- 
tation and  embellishment  in  music  make  a 
natural  appeal. 

It  becomes  necessary  to  arouse  a  sense  of 
discrimination  between  pieces  of  this  general 
character. 

The  teacher  therefore  must  make  clear  this 
thought :  that  the  greatness  of  a  composition 
does  not  depend  so  much  upon  the  character 
of  its  theme  as  upon  the  way  in  which  it  is 
treated.  Each  variation  should  throw  a  new 
light  upon  the  theme  and  be  something  more 
than  a  mere  exhibition  of  scales  and  arpeggios. 

Write  on  the  blackboard : 

The  Harmonious  Blacksmith.  —  George  Frederick 
Handel  (1685-1759). 

Explain  that  the  title  is  purely  fictitious  and  was 
not  used  by  the  composer.  The  piece  contains 
nothing  which  would  suggest  the  blacksmith  or  his 
trade.  Originally  it  was  known  as  a  "  lesson  "  com- 


THE  ADOLESCENT  PERIOD  131 

posed    for    the   young    English    Princess    Anne,  — 
Handel's  royal  pupil. 

In  this  connection  also  may  be  presented  a 
lesson  showing  the  artistic  treatment  of  certain 
small  and  familiar  forms  (as  the  waltz,  lullaby, 
and  march). 

Play  a  waltz  that  is  for  dancing,  and  follow  with 
record  88322  (V),  a  brilliant  Chopin  waltz  (Op.  34, 
No.  i),  which  is  idealized  for  the  concert  program, 
and  not  intended  for  dancing. 

By  marking  the  rhythm  of  the  Chopin  waltz  with 
motions  of  the  hand,  the  less  musical  members  of  the 
class  will  better  appreciate  this  waltz-like  character. 

As  a  variant,  play  64076  (V),  Minute  Waltz  (first 
part  of  record),  described  on  page  126. 

Create  respect  for  Chopin  (1810-1849),  a  romantic 
composer  who  has  been  called  the  "  poet  of  the  piano." 
His  compositions  may  be  thought  of  as  poetic  expres- 
sions in  the  language  of  tones. 

Artistic  treatment  of  the  lullaby  is  well 
shown  in  the  Chopin  Berceuse,  or  Cradle  Song, 
A  5597  (C) ;  55031  (V),  one  of  the  most  poetic 
conceptions  of  a-  beautiful  idea.  Concerning 
it  E.  Baxter  Perry  says :  "  It  is  the  finest 
cradle  song  ever  written  for  the  piano.  The 
left  hand  may  be  said  to  rock  the  cradle  all  the 
way  through  by  alternating  two  simple  chords 
in  a  swinging  motion.  The  right  hand  sings 
the  mother's  song  in  a  soft  melody.  And  over 
this  melody,  Chopin  has  flung  a  delicate  em- 


132  LISTENING  LESSONS  IN  MUSIC 

bellishment  of  tones,  falling  soft  and  light   as 
moonlight  or  dream  pictures." 

In  the  Sensory  Period  the  children  learned 
to  distinguish  the  rocking  of  the  cradle  and  the 
mother's  song  in  every  lullaby.  The  same  fea- 
tures mark  also  the  more  artistic  expression. 

Write  on  the  blackboard  the  rhythmic  figure  heard 
throughout  in  the  bass  —  representing  the  cradle 
motion  —  and  have  the  class  sing  it  several  times. 

(g,  Key  E  Flat,  andante) : 

;  do  -  so  -  mi  -  fa  -  so  -  - 

Write  on  the  board  the  first  strain  of  the  "  mother 
song  " : 

mi re  -  so  -  mi  -\  re  -  mi  -  do  -la  -  ti_  -  re  -  \  sp_- 

ti_-  do  -  re  -fa  -la- \  so-  fa  -  mi  -  re  -  do  -  re  -  (and 
repeat), 

or  play  a  few  revolutions  of  the  record  while  the 
class  follows  it  audibly. 

Apply  the  idea  also  to  artistic  expressions  of 
the  march.  Illustration  may  be  made  through  : 

Marche  Militaire.  —  Schubert.    35493  (V). 

This  famous  march  reveals  the  composer's 
genius  for  rhythm  and  melody.  Its  spirit  and 
brilliant  character  suggest  some  gala  parade 
rather  than  the  tramp  of  military  feet. 

Marche  Slave.  —  Tschaikowski.     35167  (V) ;  A  5477  (C) 

(described  on  p.  143) 


THE  ADOLESCENT  PERIOD  133 

Swedish  Wedding  March.  —  Soderman.    35159  (V) 
Norwegian  Wedding  March.  —  Grieg.    71042  (V) 
Wedding  March,    "  Lohengrin."       31227  (V) ;  A  6  (C) 
Wedding  March.  —  Mendelssohn.   A  5093  (C) ;  31159  (V) 
March  of  the  Priests,  "  Athalia."    A  5262  (C) 

Under  minor  romantic  forms,  the  barcarolle, 
nocturne,  and  serenade  have  fascinating  interest 
in  this  period  of  life. 

Present  record  5754  (V),  Barcarolle,  "Tales 
of  Hoffmann  "  (see  page  53). 

Write  on  the  board  : 
Nocturne. 

Derive  meaning  of  the  word  from  the  class  —  if 
possible.  Although  literally  a  night  piece  of  roman- 
tic and  dreamy  character,  the  name  has  been  mis- 
applied to  many  compositions  without  any  partic- 
ular character.  As  compared  with  the  serenade, 
it  may  be  said  to  contain  more  of  the  poetic  element. 
The  nocturne  has  no  fixed  form. 

Play  Nocturne  from  "Midsummer  Night's  Dream," 
35527  (V) ;  A  5393  (C). 

Have  class  follow  the  opening  theme  audibly. 

Relate  it  to  the  incidental  music  which  Mendels- 
sohn wrote  to  accompany  the  Shakespearean  comedy. 
This  Nocturne  is  played  at  the  close  of  the  third  act, 
as  the  four  chief  characters  are  lying  asleep  and 
Puck  says : 

"  On  the  ground,  sleep  sound  : 
I'll  apply  to  your  eye,  gentle  love's  remedy." 


134  LISTENING  LESSONS  IN  MUSIC 

A  beautiful  solo  for  the  French  horn  occurs  in  this 

•2 

number.     Key  of  E,  -,  Andante  : 

so.  so  I  do  -.  50  do  re\re-  mi- so  -\fa-mi-re-\so--mi-\ 
do-ti_-do-  [do -re-.  mi\fa-.  mi  re  do  \  do-ti-  (repeat). 

The  most  poetic  expression  of  the  nocturne 
is  found  in  compositions  of  Chopin,  and  the 
class  should  be  able  to  recognize  at  least  one  of 
the  number.  The  one  in  E  Flat  (Opus  9,  No.  2), 
has  been  recorded  by  violin,  74052  (V) ; 
A  5431  (C) ;  piano,  A  5485  (C) ;  and  cello, 
A  5374  (C.) ;  35133  (V),  and  is  exquisitely  beau- 
tiful. Most  beloved  of  all,  however,  is  the  one 
in  G  Major  (Opus  37,  No.  2),  recorded  for  piano 
(for  which  of  course  it  was  originally  written), 
record  74313  (V). 

Serenades  : 

A  lesson  should  be  given  on  the  serenade, 
with  illustrations  drawn  from  both  vocal  and 
instrumental  compositions. 

The  serenade  is  one  of  the  most  interesting 
of  romantic  forms,  and  some  reference  to  its 
history  and  special  character  may  be  made. 
It  is  an  ancient  feature  of  courtship,  and  two 
hundred  years  ago  no  lover  of  fashion  wooed  his 
lady  fair  without  this  fervent  music.  Addison 
says,  in  "  The  Tatler,"  "  One  would  think 
men  hoped  to  conquer  their  ladies'  hearts  as 


THE  ADOLESCENT  PERIOD  135 

people  tame  hawks  and  eagles,  by  keeping  them 
awake  or  breaking  their  sleep." 

The  serenade  in  one  sense  denotes  a  nocturnal 
love  song  of  soothing  and  tranquil  character. 
The  word,  derived  from  the  Latin  adjective 
meaning  serene,  suggests  the  character  of  the 
weather  for  this  special  kind  of  music.  It  is 
given  under  the  window  of  the  person  to  be 
entertained  and  should  be  suitably  accom- 
panied by  a  small  instrument  which  the  lover 
may  carry.  It  must  have  appealing  melody 
and  tender  words. 

The  teacher  should  explain  that  there  are  two 
distinct  arrangements  of  the  serenade  : 

(i)  In  which  the  lover  sings  alone  to  the  lady,  and 
(2)  in  which  she  answers  him  in  a  love  duet. 

What  voice  is  associated  with  the  subject  ? 
(Tenor.) 

Has  any  one  heard  a  bass  voice  singing  a  serenade  ? 
Why  'not  ? 

Does  not  the  bass  love  romance  and  sentiment  as 
fully  as  his  light-toned  brother  ?  (Art  is  truth,  and 
the  thought  of  love  contains  hope  and  buoyancy  of 
spirit,  and  the  voice  suitable  must  soar.) 

There  is  a  wealth  of  composition  in  this 
favorite  form.  The  following  are  suggested : 

Serenade.  —  Schubert,  64093  (V),  (Voice);  A  5090 
(C),  (Cello);  35140  (V);  80130  (E). 

Serenade.  —  Tosti,  17423  (V) ;  64399  (V) ;  A  5571  C. 


136  LISTENING  LESSONS  IN  MUSIC 

Call  Me  Thine  Own.  —  Halevy,  35140  (V),  Duet 
(Violin  and  Flute) ;  A  1705  (C). 

Serenade.  —  Schumann,  16046  (V),  Duet  (Cornet 
and  Flute). 

Serenade.  — Titl,  35150  (V),  (Cello  and  Flute);  A 
5091  (C);  80141  (E). 

I  Hear  a  Thrush  at  Eve.  —  Cadman,  A  1591  (C) ; 
64340  (V). 

Serenade.  —  Drigo,  A  5685  (C)  ;  17600  (V). 

Who  is  Sylvia  ?  — Schubert,  17634  (V). 

Hark!  Hark!  the  Lark.  —  Schubert.  64218  (V). 
(A  morning  serenade,  which  technically  should  be 
called  aubade.} 

Elsewhere  occurs  the  statement  that  in  the  criticism 
of  music  one  should  not  enter  the  realm  of  imagina- 
tion, since  each  individual  is  entitled  to  his  own 
mental  picture.  To  make  this  point  clear  to  the 
class,  use  record  17805  (V).  Play  the  first  half  of  the 
record  several  times,  allowing  the  class  to  sing  the 
beautiful  and  tender  theme.  Ask  different  ones  to 
write  on  paper  a  single  word  as  a  suggestive  title  for 
the  composition.  Continue  to  play  the  leading 
theme  until  each  one  has  received  a  definite  impression. 
Have  the  papers  passed  to  the  desk  and  read  them. 
There  will  be  surprise  to  find  such  wide  diversity  of 
subjects  and  no  two  alike.  Tell  the  class  that  some 
one  named  the  composition  "  Consolation,"  but  as 
the  composer  was  not  consulted,  no  one  knows  what 
Mendelssohn  himself  might  have  called  it.  It  is  one 
of  a  collection  of  forty-eight  pieces  called  "  Songs 
Without  Words." 

The  class  may  name  other  pieces  by  this  composer. 

Play  The  Spring  Song. 

The  teacher  may  take  this  opportunity  to  empha- 
size characteristics  of  Mendelssohn,  the  man,  and 
the  prevailing  style  of  his  compositions. 


THE  ADOLESCENT  PERIOD  137 

Instrumental  music  may  be  presented  through 
piano,  orchestral  instruments,  and  small  popular 
instruments. 

The  piano  is  too  familiar  to  dwell  upon,  al- 
though a  valuable  medium.  It  is  used  in  several 
examples  in  these  pages. 

Berceuse.  —  Chopin  l  ,_^ 

The  Fauns.  —  Chaminade  J  55°31  (V) 

Liebestraum.  —  Liszt  70065  (V) 

Minuet.  —  Paderewski         88321  (V) 

Rustle  of  Spring.  —  Sinding  \         ft  ,  , 

The  Butterfly.  —  Grieg         /  3544*  (V) 

Magic  Fire  Spell.  —  Wagner  —  Brassin    58006  (V) 

The  Flatterer.  —  Chaminade    70040  (V) 

Hark  !  Hark  !  the  Lark.  —  Schubert  —  Liszt  88357  (V) 

III.    National  Music. 

Music  should  be  related  to  geography  and 
history  lessons  at  the  time  they  are  studied  in 
the  different  grades. 

Preface  the  first  lesson  arranged  for  this 
correlation  with  a  brief  talk  upon  the  signifi- 
cance of  nationalism  —  as  revealed  through 
music. 

The  term  nationalism  reflects  the  charac- 
teristics of  the  whole  people.  The  spontaneous 
music  of  the  primitive  people  is  termed  folk 
music  and  consists  of  songs  and  dances.  It  is 
emotional  rather  than  intellectual  and  expresses 


138  LISTENING  LESSONS  IN  MUSIC 

the  human  side  of  man.  Hence,  it  has  been 
called  heart  music. 

After  the  development  of  a  nation,  there 
comes  the  product  of  the  cultured  mind ;  this 
is  termed  art  music. 

National  school  or  national  art  refers  to  a 
collection  of  music  associated  with  certain  indi- 
viduals. On  the  other  hand,  folk  music  being  of 
obscure  origin,  reflects  the  mass.  Some  one  has 
called  it  "  heart  throbs  of  the  common  people." 

Art  music  is  inspired  by  heart  music,  and 
while  glory  may  be  accorded  individual  com- 
posers, the  people  are  after  all  the  real  source. 

The  study  of  any  nation  is  incomplete  with- 
out some  consideration  of  its  music. 

Most  suitable  it  seems  to  consider  first  the 
country  whose  songs  are  most  familiar. 

Write  on  the  board  : 
Songs  of  America. 

Play  record  31854  (V). 

(Names  of  the  tunes  may  be  written  on  the  board 
as  they  are  recognized  by  the  class.) 

1.  America  National  Hymn. 

2.  Yankee  Doodle  Military  Tune. 

3.  Swanee  River  Folk  Song. 

4.  Dixie  Folk  Song. 

5.  My  Old  Kentucky  Home        Folk  Song. 

6.  The  Red,  White,  and  Blue       Patriotic  Song. 

7.  The  Star-Spangled  Banner      National  Anthem. 


THE  ADOLESCENT  PERIOD  139 

What  kind  of  piece  is  the  first  ?  The  second  ? 
and  so  on.  (Thus  the  class  may  tell  the  contents  of 
the  second  column  and  make  distinctions  between  the 
different  kinds  of  song.) 

Geographical  and  historical  data  may  be  attached 
to  each  of  these  numbers.  Stories  may  be  told  about 
the  pieces  and  their  composers.  Stephen  C.  Foster  is 
of  particular  interest. 

Make  clear  the  point  that  a  national  hymn  must 
be  dignified  but  simple  enough  to  become  popular; 
also,  that  a  patriotic  song  is  more  extended  in  form, 
must  have  patriotic  words,  and  be  indorsed  by  the 
nation. 

With  the  concluding  number  as  a  theme,  national 
airs  of  other  countries  may  be  considered. 

Write  on  the  board  : 
National  Airs  of  All  Nations. 

Use  record  31855  (V).  (Record  A  1685  (C)  con- 
tains "  The  Star-Spangled  Banner  "  on  the  reverse 
side  and  may  be  used  in  the  same  manner.)  Before 
playing  the  record,  write  on  the  board  the  first  column. 
The  second  column  is  drawn  from  the  class  as  far  as 
possible  and  written  as  the  tunes  are  heard. 

1.  Great  Britain  "  Rule  Britannia." 

2.  Austria  "  God  Preserve  the  Emperor." 

3.  Russia  "God  Save  the  Czar." 

4.  France  "  Marseillaise." 

5.  Italy  "  Garibaldi  Hymn." 

6.  Germany  "The  Watch  on  the  Rhine." 

7.  United  States  "  The  Star-Spangled  Banner." 

Explain  that  such  airs  spring  from  crises  in  a 
nation's  history;  that  they  are  spontaneous  and 
reflect  the  common  people.  With  few  exceptions, 


140  LISTENING  LESSONS  IN  MUSIC 

great  national  airs  have  been  written  by  unknown 
composers. 

In  each  number  one  finds  a  certain  predominant 
characteristic,  and,  after  hearing  the  record,  ques- 
tions may  be  asked. 

The  religious  spirit  only,  is  found  in  hymns  of 
Austria  and  Russia.  The  military  influence  marks 
the  French  and  Italian. 

Great  Britain  has  a  spirited  hymn,  suggesting 
neither  the  army  nor  the  church  especially,  but  in  its 
strong  emotional  character  signifying  the  home  or 
folk  song. 

The  same  may  be  said  of  "  The  Star-Spangled 
Banner."  It  is  most  inspiring,  but  unsuitable  for 
church  service  or  the  tread  of  the  army.  Its  compass 
is  too  great  to  be  sung  by  every  one.  The  national 
song  of  Germany  has  a  lofty  praise  spirit,  expressed 
through  martial  rhythm. 

Of  all  national  airs,  the  tune  of  "  America  "  is 
undoubtedly  the  greatest.  It  has  unusual  variety  in 
a  compass  of  seven  tones.  The  origin  of  this  tune  is 
obscure,  but  at  the  close  of  the  eighteenth  century  it 
was  the  national  hymn  of  Prussia,  Denmark,  Switzer- 
land, England,  and  the  United  States.  It  is  said  to 
have  inspired  Haydn  —  who  visited  London  (1790- 
1797)  —  to  write  the  Austrian  Hymn. 

A  music  lesson  concluding  the  study  of  each 
country  should  contain  the  national  hymn, 
a  folk  dance,  a  folk  song,  and  one  or  more 
expressions  of  the  art  music  which  reflects  the 
national  spirit. 

Phonographic  material,  as  well  as  that  from 
music  textbooks,  should  be  used.  The  wall 


THE  ADOLESCENT  PERIOD  14! 

map  should  also  be  employed.  The  class  should 
tell  about  characteristics  of  the  people.  Pic- 
tures should  be  shown,  in  fact  every  legitimate 
means  should  be  used  to  impress  the  class  with 
the  universal  force  of  music  and  its  vital  im- 
portance in  a  nation's  life. 

In  national  and  folk  songs  the  children  may 
accompany  the  record,  as  in  almost  every  instance 
the  key  is  suitable  for  unison  singing.  Words 
of  the  important  national  hymns  are  easily  ob- 
tained, but  as  they  suffer  so  from  translation  it 
is  as  well  for  the  class  to  sing  the  syllable  la, 
or  to  whistle,  since  it  is  usually  the  tune  rather 
than  the  words  which  makes  such  music  live. 

Phonograph  catalogues  are  so  completely  in- 
dexed that  it  seems  unnecessary  to  add  to  these 
pages  a  lesson  for  each  country. 

The  following  lesson  on  Russia  may  be  taken 
as  a  model : 

Introduce  with  this  brief  resume  : 

Broadly  speaking  each  nation  has  two  kinds  of 
music  :  heart  and  art.  That  which  springs  from  the 
heart  includes  folk  dances  and  folk  songs.  It  is 
emotional  rather  than  intellectual,  and  expresses  the 
human  side  of  man.  Art  music  is  the  product  of  the 
cultured  mind,  and  is  often  inspired  by  heart  music. 

The  class  may  sing  the  national  hymn  of  Russia 
with  the  record. 

Play  E  1927  (C) ;  16669  (V).  (Write  program  on 
board  as  it  evolves.)  The  national  hymn  of  almost 


142  LISTENING  LESSONS  IN  MUSIC 

every  country  shows  either  religious  or  military 
influence.  Which  has  inspired  the  Russian  hymn  ? 

What  is  the  state  religion  of  Russia  ? 

"  Greek  Orthodox." 

Who,  or  what,  is  a  Cossack  ? 

Where  does  he  live  ? 

In  what  part  of  the  army  is  he  enlisted  ? 

"  Cavalry." 

Listen  to  a  Cossack  dance.  The  men  wear  heavy 
boots,  and  often  attach  little  bells  or  clappers  to  the 
heels  for  this  dance.  They  jump  up  and  crack  their 
heels  together,  shouting  in  rather  a  barbarous  manner 
while  dancing. 

Play  16280  (V). 

The  barbaric  element  in  this  folk  dance  is  its  dis- 
tinguishing characteristic  —  a  point  which  the 
teacher  may  emphasize  by  asking  if  it  could  have 
expressed  the  French  ?  Or  German  ?  Or  English  ? 
Or  Italian  ?  Or  in  fact  any  people  having  an  older 
civilization  ?  The  national  folk  dance,  Kamarin- 
skaia,  may  be  played  also,  S  3002  (C) ;  17001  (V) ; 
or  the  Russian  Fantasie,  50102  (E). 

Perhaps  the  most  famous  folk  song  in  Russia  is  The 
Scarlet  Sarafan  —  it  having  been  declared  naticral 
and  placed  upon  imperial  musical  programs.  The 
title  refers  to  the  robe,  called  the  sarafan,  v  hich  is 
the  national  costume  of  the  female  peasants  of  Russia. 

Have  the  class  sing  this  song  if  it  be  found  in  the 
school  textbook.  Follow  by  record  74051  (V),  or 
80071  (E),  which  is  entitled  A  Souvenir  cf  Moscow, 
and  is  a  violin  solo  composed  by  Wieniawski.  This 
artistic  composition  is  based  upon  the  folk  song, 
"  Scarlet  Sarafan,"  and  shows  the  inspiration  which 
may  come  from  heart  music. 


THE  ADOLESCENT  PERIOD  143 

Folk  Song,  Let  Joy  Abide.     (61181  V) 

Most  of  the  Russian  folk  songs  are  in  the  minor 
mode,  seeming  to  express  the  long  suffering  of  an 
enthralled  people.  This  one,  however,  is  exceptional 
in  its  joyousness  and  is  chosen  to  illustrate  several 
points.  It  is  stated  in  its  simple  form,  first  through 
the  voice,  then  repeated  in  the  stringed  accompani- 
ment. Later  it  is  embellished  by  scales  and  given 
florid  treatment  which,  the  class  may  observe,  is 
merely  to  display  the  singer's  voice,  rather  than  add 
anything  to  the  beauty  and  strength  of  the  simple 
composition. 

The  singer  is  Michailowa  (Misch-i'-oh-la),  a  popular 
Russian  soprano.  The  accompaniment  is  played  by 
the  balalaika,  a  primitive  instrument  famous  in 
Russia.  This  instrument  resembles  a  mandolin, 
having  a  triangular  body,  has  but  three  strings,  and 
is  made  in  three  sizes,  producing  bass,  tenor,  and 
alto  tone  qualities. 

The  folk  song  Bright  Shines  the  Moon,  17405  (V), 
played  by  the  imperial  balalaika  orchestra,  is  inter- 
esting, and  may  be  used  instead  of  the  one  preceding. 


Marche  Slave.    A  5477  (C) ;  35167  (V) 

This  composition  has  an  interesting  history.  In 
1876,  war  existed  between  Turkey  and  Servia,  in 
which  Russia  was  also  involved.  A  concert  was 
given  in  St.  Petersburg  for  wounded  soldiers,  and  the 
greatest  of  Russian  composers  wrote  a  march  for 
the  occasion. 

Write  on  the  board  : 

Tschaikowski  (Chi-koff-skee). 


144  LISTENING  LESSONS  IN  MUSIC 

This  musical  composition  in  some  degree  pictures 
three  periods  of  Russian  history.  (Words  under- 
scored are  for  the  board.) 

1.  A  dirge-like  theme  (represents  the  sad  and  hope- 
less hordes  in  the  Middle  Ages  who  wandered  over  the 
vast  steppes ;    a  nomadic,  unorganized  people  which 
might  be  likened  to  our  American  Indians). 

2.  A  merry  folk  song  (reveals  the  social  condition, 
after  settlements  were  effected  and  home  life  began. 
The  high-pitched  tune  may,  in  a  way,  represent  the 
faith  and  hope  of  the  people). 

3.  National    hymn    (declares    the    dignity    of    a 
nation  and  the  establishment  of  an  Empire). 

4.  Formal  close  (contains  only  conventional  ideas). 
At  one  place  in  the  composition,  the  folk  song  and 

the  national  hymn  are  skillfully  blended. 

The  following  lesson  may  be  given  in  the 
study  of  Switzerland. 

The  teacher  asks  : 

What  is  the  leading  industry  of  Switzerland  ? 

"  Cattle  raising." 

On  every  mountain  side,  having  vegetation,  are 
herds  of  cows  and  sheep  and  goats.  Each  herdsman 
has  a  peculiar  call  for  his  cattle. 

Who  has  heard  of  an  Alpine  horn  ?  The  first  ones 
were  made  from  a  real  cow's  horn.  The  herdsmen 
play  upon  them  little  tunes,  different  from  any  other 
kind  of  music.  These  are  the  true  folk  songs  of  the 
Swiss  peasant.  Certain  of  these  Alpine  songs  are 
associated  with  particular  valleys. 

Play  80128  (E);  A  5237  (C) ;  35121  (V),  William 
Tell  Overture,  Part  III,  known  as  "  The  Calm." 


THE  ADOLESCENT  PERIOD  145 

The  people  of  Switzerland  love  this  music  more 
than  we  can  realize  —  for  we  have  not  any  one  kind  of 
music  that  belongs  so  distinctively  to  us  as  the  Alpine 
calls  do  to  the  Swiss. 

It  is  a  well-known  fact  that  small  countries,  iso- 
lated because  of  mountains  or  other  topographic 
conditions,  have  the  most  distinctive  folk  music  and 
are  most  tenacious  of  it.  Swiss  soldiers,  fighting  in 
mercenary  legions  of  other  countries,  will  sometimes 
desert  when  they  hear  the  tunes  of  the  Alps.  There 
are  instances  in  the  history  of  France  and  the  Nether- 
lands where  whole  regiments  have  grown  so  homesick 
through  hearing  these  tunes  that  they  were  too  sick 
to  eat  or  sleep  and  were  irresistibly  drawn  homeward. 
The  death  penalty  was  once  imposed  upon  any  one 
who  should  play  the  Swiss  tunes  within  hearing  of 
these  hired  Swiss  soldiers. 

After  this  peaceful  picture  of  Switzerland,  the 
class  may  have  the  contrast  of  "  A  Storm  in  the 
Alps  "  —  a  storm  in  which  the  lightning  will  flash 
and  the  thunder  rumble  and  the  rain  just  pour  !  Oh, 
it's  a  splendid  rain  ! 

What  would  be  the  style  of  such  a  piece  ? 

"  Descriptive." 

As  a  matter  of  fact,  a  storm  has  the  same  features 
everywhere,  and  this  particular  storm  might  be  in 
any  place  as  well  as  in  the  Alps.  However,  there 
is  one  feature  that  connects  it  with  Switzerland. 
The  class  may  discover  this  point  through  lis- 
tening. 

Play  80128  (E) ;  A  5236  (C) ;  35120  (V),  William 
Tell  Overture,  Part  II,  "  The  Storm." 

When  it  is  finished,  the  teacher  asks  : 
What  places  the  storm  in  Switzerland  ? 
"  The  Alpine  calls." 


146  LISTENING  LESSONS  IN  MUSIC 

Why  were  these  calls  heard  after  the  storm  sub- 
sided ? 

"  The  herdsmen  wanted  to  find  if  their  cows  were 
safe,"  comes  the  perfectly  natural  answer. 

In  this  lesson  may  also  be  explained  the  principle 
of  the  yodel,  and  records  A  573  (C)  or  16968  (V),  played 
to  illustrate  this  distinctive  singing  of  Switzerland. 
(See  page  III  for  further  comment  upon  the  yodel.) 

Bohemia,  Poland,  and  Hungary  should  be 
studied  in  connection  with  the  countries  to 
which  they  now  belong.  Although  these  for- 
mer little  nations  have  no  independent  exist- 
ence and  children  of  to-day  learn  little  of  their 
history,  the  music  is  too  distinctive  and  too 
national  to  be  disregarded. 

Write  on  the  board  : 

Bohemian  National  Air ;  Battle  Hymn  of  the  Hussites. 

Create  interest  by  telling  brief  story  of  John  Huss, 
who  lived  one  hundred  years  before  Luther,  and  who 
used  this  song  in  his  warfare  for  religious  liberty. 
Primarily  the  battle  song  for  Protestants,  it  later 
became  the  national  song  for  a  Catholic  country  — 
an  illustration  of  song  being  more  enduring  than 
creed.  This  wonderful  hymn  antedates  1450  and  is 
one  of  few  examples  in  which  religious  zeal  and  mili- 
tary enthusiasm  are  equally  expressed.  Have  the 
class  sing  with  the  record  4223  (V). 

Write  on  the  board  : 

Overture,  "  The  Bartered  Bride."  —  Smetana. 

This  is  from  the  best-known  opera  of  Bohemia  and 
the  overture  contains  several  lively  folk  tunes. 


THE  ADOLESCENT  PERIOD  147 

Play  35H8  (V). 

The  Polish  National  Hymn,  63364  (V),  is  dignified 
and  religious  in  character. 

The  Patriotic  Song,  4222  (V),  is  based  upon  a 
national  dance. 

The  Polka  Mazurka  by  Strauss,  16280  (V),  is  a 
happy  combination  of  the  polka  which  originated  in 
Bohemia,  and  the  mazurka,  from  Poland.  The 
class  will  be  interested  in  the  story  which  links  the 
rise  of  the  polka  with  an  incident  in  United  States 
history.  (Appendix.) 

An  artistic  treatment  of  the  mazurka,  by  Chopin, 
is  record  64224  (V). 

Hungarian  music  shows  the  Magyar  or  gypsy 
influence.  The  gypsy  does  not  create  any- 
thing, but  ornaments  and  adapts  the  music  of 
his  surroundings. 

The  gypsy  has  no  religion,  therefore  no 
spiritual  music.  Nor  has  he  any  written 
music.  His  music  is  instrumental  and  highly 
emotional.  He  expresses  himself  principally 
upon  the  fiddle  —  which  seems  an  essential  to 
every  gypsy  camp.  Generally  considered  a 
thief,  he  also  takes  the  music  of  others.  He 
might  be  likened  to  one  who  steals  a  hat,  adds 
a  new  ribbon,  sticks  a  feather  in  it,  and  calls 
it  his  own. 

Rakoczy  March,  A  1020  (C) ;  4314  (V),  is  the  national 
air,  dates  back  to  1703,  and  was  played  by  a  gypsy 
fiddler  through  the  wars  of  the  eighteenth  century. 


148  LISTENING  LESSONS  IN  MUSIC 

Czardas,  S  3037  (C),  17003  (V),  is  the  most  national 
of  Hungarian  folk  dances,  and  consists  of  a  slow, 
mournful  minor  followed  by  a  wild  and  furious 
rhythm. 

The  Hungarian  rhapsody  may  be  defined  as 
a  distinctive  and  elaborate  composition,  wild 
and  disconnected,  and  made  up  of  fragments 
of  melody.  The  form  was  created  by  an  Hun- 
garian musician,  Franz  Liszt  (1811-1886),  who 
wrote  fifteen  of  these  pieces.  They  are  all 
constructed  on  the  same  general  plan  (basis  of 
which  is  the  folk  dance,  Czardas),  and  contain 
three  kinds  of  melodies :  a  slow,  mournful 
song,  a  playful  dance,  and  a  furious,  whirling 
sort  of  dance,  resembling  the  tarantella.  There 
is  no  doubt  that  Liszt  was  influenced  by  the 
gypsies,  the  music  being  as  incoherent  as  this 
people  is  erratic. 

These  compositions  are  brilliant  and  pictur- 
esque and  full  of  temperament.  Some  critics 
speak  of  them  sneeringly  as  "  fireworks  "  and 
"  spectacular " ;  but  they  are  national  and 
should  be  presented  to  every  eighth  grade. 

Play  Hungarian  Rhapsody  No.  2,  A  5230  (C) ;  80135 
(E) ;  35122  (V).  The  teacher  may  point  out  as 
gypsy  influence,  the  ornamental  trills  and  runs  which 
interrupt  the  course  of  the  true  melodies. 

In  connection  with  Italy  use  : 

The  Royal  March,  16136  (V).     This  is  played  as  a 


THE  ADOLESCENT  PERIOD  149 

fanfare  by  the  royal  band  whenever  the  King  and 
Queen  appear.  On  the  reverse  side  of  the  record  is 
the  Garibaldi  Hymn,  in  connection  with  which  some 
boy  may  look  up  the  "  The  Hero  of  the  Red  Shirt." 

Tarantella,  folk  dance,  17083  (V).  (See  page  42 
for  commentary.) 

Santa  Lucia,  folk  song  of  Naples,  16882  (V). 

Funiculi-Funicula,  popular  song,  16899  (V)« 

By  consulting  record  catalogues  under  heads  of 
national  and  patriotic  music,  folk  dances,  folk  songs, 
and  educational  records,  suitable  music  can  be  selected 
for  each  country. 

Nationalism  in  music  has  a  different  signifi- 
cance when  applied  to  our  own  country. 
The  very  expression  "  American  Music "  is 
apt  to  provoke  discussion  as  to  its  exact  mean- 
ing. For  instance,  one  critic  says  American 
music  has  no  more  significance  than  American 
mathematics.  Music  is  music,  the  same  stand- 
ard prevailing  in  all  civilized  countries.  An- 
other critic  says  the  only  national  art  music  is 
that  based  upon  the  folk  music,  and  that  in 
this  melting  pot  of  nations,  there  is  no  true  folk 
music,  therefore  we  can  have  no  national 
music.  Other  critics  recognize  as  many  as  six 
kinds  of  folk  music  which  they  declare  sufficient 
to  stimulate  musical  expression  in  larger  forms. 

There  is  considerable  literature  covering  the 
folk  music  in  the  United  States,  under  the  fol- 
lowing heads :  Indian,  Negro,  Creole,  Moun- 


150  LISTENING  LESSONS  IN  MUSIC 

tain  White,  Spanish-Californian,  and  Music 
of  the  Plains  (Cowboy  Songs). 

Still  another  class  of  critics  declares  that  true 
American  music  must  reflect  the  spirit  of  our 
great  democracy  and  show  spontaneity,  origi- 
nality, and  freedom  from  all  conventionalized 
forms.  In  this  connection,  it  is  somewhat 
amusing  to  know  that  to  most  Europeans, 
Sousa  represents  the  American  spirit  in  music, 
as  Mark  Twain  does  that  of  literature. 

The  subject  is  interesting  but  cannot  be  prof- 
itably discussed  in  these  lessons,  since  "  who 
shall  decide  when  doctors  disagree  ? " 

For  the  class : 

America  has  some  music  which  is  distinctively  its 
own.  First,  are  songs  which  thrill  us  with  a  love  of 
country. 

What  is  our  National  Hymn  ? 

Is  the  tune  native  to  America  ? 

What  is  our  National  Anthem  ? 

Is  the  tune  native  ? 

Under  what  circumstances  was  it  written  ? 

(Story  of  Francis  Scott  Key  in  War  of  1812.) 

Name  several  patriotic  songs. 

Another  class  of  music  is  associated  with  a  dis- 
tinctive locality  rather  than  a  whole  country. 

In  our  broad  land  are  several  kinds  of  people  who 
have  been  clannish  or  isolated,  and,  in  consequence, 
have  developed  idioms  of  speech,  and  music  with 
peculiar  characteristics.  The  latter  may  be  called 
folk  music. 


THE  ADOLESCENT  PERIOD  151 

The  class  may  name  some  of  these  distinctive 
people  (the  teacher  writes  names  on  the  board). 

What  is  the  real  native  of  this  country  ? 

"  Indian." 

What  class  belongs  to  the  Southland  ? 

"  Negro/' 

What  mixed  class  is  associated  with  Louisiana  ? 

"  Creole." 

What  is  a  Creole  ?  (A  Spanish-American,  or 
French-American,  either  black  or  white.) 

What  people  are  found  in  isolated  mountain  dis- 
tricts of  North  Carolina  and  Tennessee  ? 

"  Southern  Highlanders,"  "  Mountain  Whites." 

What  nation  possessed  California  a  hundred  years 
ago? 

"  Spanish." 

What  other  kinds  of  people  lived  at  the  little 
Spanish-American  court  ? 

!<  Indians,  cowboys,  missionaries,  explorers,  etc." 

What  peculiar  men  controlled  the  plains  ? 

"  Cowboys." 

All  of  these  different  kinds  of  people  have  pro- 
duced distinctive  music ;  none  of  it,  however,  makes 
great  appeal  to  any  except  to  the  class  from  which  it 
springs. 

The  supreme  test  of  folk  music  is  its  emotional 
appeal  to  the  heart.  Let  us  apply  this  test  to  the 
composite  American. 

Suppose  you  were  in  a  foreign  land  and  dreadfully 
homesick,  what  music  of  your  own  land  would 
tug  at  your  heartstrings  and  draw  you  homeward  ? 
Surely  not  Indian,  nor  Creole,  nor  Cowboy,  nor  even 
Negro  spirituals ;  but  "  Swanee  River,"  "  Old 
Kentucky  Home,"  "  Old  Black  Joe,"  "  Massa's  in 
de  Cold,  Cold  Ground,"  and  the  like. 

These  songs  were  inspired  by  plantation  life,  and 


152  LISTENING  LESSONS  IN  MUSIC 

given  expression  by  one  native  born,  and  who  lived 
all  of  his  life  on  American  soil  —  Stephen  C.  Foster. 

[NOTE.  —  Teachers  who  live  in  cities  and  come  in  touch 
with  foreign  population  should  use  these  songs  frequently, 
since  they  have  a  great  place  in  stimulating  the  love  of 
country.  It  should  be  noted,  also,  that  they  have  the  dis- 
tinctive characteristics  of  true  folk  music  in  that  they  are 
simple,  and  tuneful,  and  truthful.] 

Characteristics  of  Indian  and  Negro  music 
should  be  recalled  (pages  73-78)  and  new  selec- 
tions played.  Other  American-Indian  songs  by 
Cadman  are  suggested. 

The  Moon  Drops  Low.    80140  (E)  64200  (V) 

White  Dawn  is  Stealing.     64249  (V) 

Go  Down,  Moses.     17688  (V) 

Good  News.     17663  (V)  from  the  Tuskegee  Singers. 

Art  songs,  characteristic  of  our  Southland, 
—  which  in  fact  could  not  have  been  inspired 
elsewhere,  —  should  be  used  in  a  study  of  Amer- 
ican compositions.  Suggested  are : 

Mammy's  Song  (page  77) 

Rockin'  Time  (page  77) 

Mighty  Lak  a  Rose.    A  1753  (C) ;  64308  (V) 

The  distinctive  types  of  native  music  referred 
to  in  the  beginning  of  the  lesson,  should  be 
characterized. 

The  music  associated  with  the  Creole  is 
marked  by  the  same  irregular  rhythm  and  jerks 


THE  ADOLESCENT  PERIOD  153 

as  the  Spanish.  Very  little  has  been  recorded 
for  the  phonograph.  Good  examples  are  on 
the  double  record  45050  (V),  Pasquinade  by 
Gottschalk  and  Creole  Dance  by  Chaminade. 

Creole  songs  are  usually  accompanied  by 
dancing. 

In  the  mountains  of  Kentucky,  Tennessee,  and 
the  Carolinas,  nearly  all  the  men  are  singers. 
Nearly  every  family  possesses  a  poor  fiddle  or 
banjo.  Voices  are  untrained  of  course,  but 
there  is  good  tone  quality  and  true  sense  of 
pitch,  rhythm,  and  harmony.  Their  music  is 
vocal,  and  the  words  tell  of  different  phases  of 
life ;  almost  without  exception  being  intended 
to  provoke  laughter  —  for  the  people  have  an 
unusual  sense  of  coarse  humor.  These  songs 
afford  almost  the  only  form  of  amusement  in 
this  emotional  little  world.  There  has  been 
some  serious  effort  made  by  musicians  to  com- 
pile this  native  music,  but  none  has  yet  been 
recorded  for  the  phonograph. 

Have  the  class  characterize  the  cowboy. 

The  song  native  to  the  men  of  the  plains  is 
dramatic  and  peculiarly  American,  having  that 
spirit  of  freedom  and  courage  which  marked  the 
West  a  generation  ago. 

An  excellent  song  of  this  type  is  The  Lone 
Prairie,  by  Henry  F.  Gilbert,  not  yet  recorded 


154  LISTENING  LESSONS  IN  MUSIC' 

for  phonograph,  but  which  the  teacher  may 
procure  from  any  music  house.  It  has  these 
characteristic,  albeit  gruesome,  words : 

"Oh,  bury  me  out  on  the  lone  prairie, 
Where  the  wild  coyote  will  howl  o'er  me ; 
In  a  narrow  grave  just  six  by  three. 
Oh,  bury  me  out  on  the  lone  prairie !" 

An  interesting  musical  example  of  the  hetero- 
geneous population  in  Spanish-California  a  cen- 
tury ago  is  extracted  from  the  opera,  "  Natoma." 

Write  on  the  board  : 
Vaquero's  Song. 

Tell  the  class  that  this  belongs  to  the  history  of 
California  about  a  hundred  years  ago.  It  will  be 
recalled  that  a  Spanish  governor  had  a  kind  of  little 
court  near  Santa  Barbara.  An  interesting  story 
has  been  written  about  this  period  of  history  —  a 
story  called  "  Natoma  "  (board),  from  the  name  of 
an  Indian  maiden.  In  this  story  also  are  early 
missionaries,  explorers,  and  men  of  the  frontier. 
Victor  Herbert  (board),  an  American  composer,  set 
this  story  to  music,  gave  it  orchestral  accompani- 
ment, and  then  it  was  acted  and  sung  on  the  stage. 
What  do  you  call  this  form  of  music  ? 

"  Opera." 

It  is  an  American  opera  with  many  good  features. 

What  else  have  you  heard  from  this  opera  ? 

"  Dagger  Dance." 

In  this  story  one  finds  Spanish  equivalents  for 
English  words  which  had  not  then  been  coined,  but 
which  are  common  to-day. 


THE  ADOLESCENT  PERIOD  155 

Of  this  class  is  the  word  "  vaqueros  "  meaning 
"  cowboys."  In  characterization  of  the  cowboy, 
develop  the  wild  spirit  and  lawless  life.  Would  the 
class  associate  a  pretty  and  sugary  tune  with  this 
type  ? 

Read  the  poem  (Appendix). 

Picture  the  leader  of  these  men  of  the  plains, 
flourishing  his  sombrero  and  waving  his  lariat  while 
singing  the  main  part  of  the  song.  Surround  him 
with  others  of  his  kind  who  join  in  the  chorus  and 
who  cry  out  "  Ai  "  in  dissonant  chords. 

While  the  spirit  of  the  song  befits  the  type,  the 
chorus  is  pure  Spanish,  being  the  familiar  habanera. 
The  same  fascinating  rhythm  JT^"™  ]  *s  found  in 
Carmen's  Song  from  the  Bizet  Opera,  and  in  "  La 
Paloma,"  the  Spanish  folk  song.  It  is  interesting  to 
note  the  derivation  of  habanera  from  Havana. 

Play  A  1070  (C) ;   5871  (V). 

No  music  shows  what  we  are  pleased  to  call 
the  American  spirit  more  fully  than  our  college 
songs. 

There  are  two  distinct  types  of  the  college 
songs :  (i)  The  Hymn  which  declares  the  dig- 
nity of  the  institution,  and  the  Rouser  which 
spurs  enthusiasm  in  athletic  contests.  Record 
16860  (V)  represents  these  two  types.  Yale 
Boola  is  a  famous  old  Rouser,  the  tune  of  which 
has  been  borrowed  by  many  universities.  The 
Princeton  Hymn  is  stately  and  a  model  of  its 
kind.  The  facetious  or  popular  name  of  each 
college  interests  the  children  and  they  may 


156  LISTENING  LESSONS  IN  MUSIC 

find   the   reason  for  attaching   "  Eli  "   to  Yale, 
"  Old  Nassau  "  to  Princeton,  and  the  like. 
Others  in  this  class  are : 

Amherst  and  Princeton.     16873  (V) 
Eli  Yale.     16713  (V) 
Football  Songs  of  Harvard.    A  1049  (C) 
Princeton  Cannon  Song.    A  1053  (C) 
University  of  Pennsylvania.    A  1574  (C) 
Tufts  College.    A  1257  (C) 

Record  31854  (V),  Songs  of  America,  con- 
taining seven  of  our  most  familiar  tunes,  or 
A  1685  (C),  containing  six,  should  be  in  every 
school  collection  and  used  frequently. 

Numerous  songs  and  instrumental  composi- 
tions which  might  be  denominated  as  "  American 
Music  "  are  spoken  of  in  this  book  under  other 
headings. 

In  connection  with  literature,  or  the  Eliza- 
bethan period  of  English  history,  a  phonograph 
lesson  should  be  given  upon  Shakespearean 
lyrics.  Natural  interest  in  the  subject  begins 
in  the  eighth  grade  where  study  of  the  English 
drama  usually  commences. 

Interest  may  be  created  by  asking  several  per- 
tinent questions,  as  :  Who  in  the  class  has  read  more 
than  the  required  dramas  ?  As  each  different  play  is 
named  it  may  be  classified  as  comedy,  tragedy,  or 
history. 

Explain  that  in  the  midst  of  the  dramatic  poetry 
are  found  little  lyric  poems. 


THE  ADOLESCENT  PERIOD  157 

Distinguish  the  lyric  poem  as  having  a  rhythm 
and  choice  of  words  suggesting  musical  accompani- 
ment. 

Draw  from  the  class,  if  possible,  the  brief  story  of 
"  As  You  Like  It." 

Where  are  the  principal  scenes  laid  ?  (Forest  of 
Arden.) 

Four  lyrics  are  associated  with  this  forest. 

Write  on  the  board  :   Hunter's  Song. 

Picture  the  scene  with  a  party  of  hunters  returning 
from  the  chase,  carrying  a  deer. 

Who  killed  the  deer  ? 

"  Let's  present  him  to  the  Duke,  like  a  Roman 
conqueror ;  and  it  would  do  well  to  set  the  deer's 
horns  upon  his  head,  for  a  branch  of  victory.  Have 
you  a  song,  forester,  for  this  purpose  ?  " 

Then  follows  the  lyric  : 

"What  shall  he  have  who  kill'd  the  deer? 
His  leather  skin  and  horns  to  wear. 

Then  sing  him  home. 
Take  thou  no  scorn  to  wear  the  horn ; 
It  was  a  crest  ere  thou  wast  born : 

Thy  father's  father  wore  it, 

And  thy  father  bore  it ; 
The  horn,  the  horn,  the  lusty  horn, 
Is  not  a  thing  to  laugh  to  scorn." 

Play  record  17623  (V). 

As  the  notes  die  away,  one  can  imagine  the  hunters 
picking  up  the  deer  and  passing  out  of  sight,  singing 
the  victor  home. 

Write  on  the  board  :  Under  the  Greenwood  Tree. 

Associate  the  theme  with  a  lover  of  nature  who 

longs  for  others  to  know  its  wholesome  influences. 


158  LISTENING  LESSONS  IN  MUSIC 

"Under  the  greenwood  tree, 
Who  loves  to  lie  with  me, 
And  tune  his  merry  note 
Unto  the  sweet  bird's  throat, 
Come  hither,  come  hither,  come  hither : 

Here  shall  he  see 

No  enemy 
But  winter  and  rough  weather." 

(which  is  no  enemy  at  all  compared  with  those  of  the 
artificial  world). 

The  one  instrument  which  may  truthfully  accom- 
pany this  song  is  the  flute  —  sometimes  called  the 
sylvan  instrument. 

Play  the  reverse  side  of  the  preceding  record 
17623  (V). 

A  third  song  of  the  play  is  an  excellent  example  of 
the  old  English  ditty.  To  the  words,  "  It  Was  a 
Lover  and  His  Lass,"  Sir  Thomas  Morley  (d.  1604) 
wrote  the  music.  In  listening  to  this  number,  one 
seems  closely  related  to  the  poet,  since  the  very  same 
tune  was  used  in  this  play  when  Shakespeare  himself 
enacted  his  favorite  role  of  old  Adam. 

The  song  is  addressed  to  Touchstone,  the  fool,  and 
Audrey,  a  simple  country  girl.  These  two  enter  the 
forest.  On  the  next  day  they  are  to  be  married. 
Two  pages  of  the  exiled  Duke  sing  them  this  song : 

"It  was  a  lover  and  his  lass 
With  a  hey,  and  a  ho,  and  a  hey  nonino, 
With  a  hey  noni  nonino, 
That  o'er  the  green  cornfield  did  pass 
In  the  springtime,  the  only  pretty  ring  time, 
When  birds  do  sing,  hey  ding  a  ding  a  ding, 
Sweet  lovers  love  the  spring." 


THE  ADOLESCENT  PERIOD  159 

There  are  four  stanzas,  having  no  profound  depth, 
and  closing  with  the  thought, 

"And  therefore  take  the  present  time 
For  love  is  crowned  with  the  prime 
In  the  springtime,  the  only  pretty  ringtime, 
When  birds  do  sing,  hey  ding  a  ding  a  ding, 
Sweet  lovers  love  the  spring." 

Play  17634  (V). 

At  the  close  of  the  song,  Touchstone  says, 
"  There  was  no  great  matter  in  the  ditty." 
To  which  the  first  page  says  : 
;<  We  kept  time,  we  lost  not  our  time." 
Touchstone  replies  :  "  I  count  it  but  time  lost  to 
hear  such  a  foolish  song.     God  be  with  you,  and  — 
God  mend  your  voices." 

The  repetition  of  the  nonsensical,  but  rhythmical 
"  hey  noni  nonino  "  is  a  feature  of  old  songs,  belong- 
ing to  a  day  when  none  of  the  common  people  under- 
stood musical  notation  and  when  extended  rote  songs 
depended  upon  some  such  filling  matter. 

The  concluding  song  in  the  group  from  this 
comedy  may  be  associated  with  the  old  forester.  He 
has  lived  near  nature  and  knows  her  every  mood. 
As  with  every  such  a  one,  he  has  become  the  philos- 
opher, comparing  the  influences  of  nature  with 
those  of  man,  with  the  inevitable  result  that  Mother 
Nature  seems  the  more  kind  and  just.  He  takes  the 
most  cruel  force  in  nature,  —  the  cutting  wind  of 
winter  —  and  thus  philosophizes: 

"  Blow,  blow,  thou  winter  wind, 
Thou  art  not  so  unkind 
As  man's  ingratitude ; 
Thy  tooth  is  not  so  keen, 
Because  thou  art  not  seen, 


l6o  LISTENING  LESSONS  IN  MUSIC 

Although  thy  breath  be  rude. 
Tho'  thou  the  waters  warp, 
Thy  sting  is  not  so  sharp, 
As  friend  remember'd  not!" 

There  have  been  various  musical  interpretations 
of  these  lines,  but  for  the  sake  of  contrast  it  seems 
wise  to  use  a  modern  art  song.  The  class  will  recall 
the  close  agreement  between  words  and  music  in 
songs  of  this  kind,  and  will  appreciate  the  sweep 
down  the  chromatic  scale  in  allusion  to  the  blowing 
wind. 

What  kind  of  voice  should  sing  this  song  ? 

"  Bass." 

Play  A  669  (C). 

The  lesson  (thus  far  filling  thirty  minutes) 
may  be  extended  and  coordinated  with  school 
textbooks  —  several  of  which  contain  the  famil- 
iar Schubert  interpretation  of  Who  is  Sylvia? 
and  Hark,  Hark !  the  Lark. 

Draw  from  the  class,  if  possible,  a  brief  plot  of  the 
early  comedy,  "  Two  Gentlemen  of  Verona." 

Center  attention  on  the  fact  that  one  of  the  young 
women  of  the  story  is  named  Sylvia  ;  she  is  beautiful 
and  popular.  One  of  the  gentlemen,  in  a  poetic 
effusion,  wonders  who  she  is  and  why  so  popular. 
The  song  is  sung  under  her  window  as  a  serenade. 

Recite  the  text : 

"Who  is  Sylvia  ?     What  is  she 
That  all  our  swains  commend  her  ? 
Holy,  fair,  and  wise  is  she : 
The  heaven  such  grace  did  lend  her 
That  she  might  admired  be. 


THE  ADOLESCENT  PERIOD  l6l 

Is  she  kind  as  she  is  fair  ? 
For  beauty  lives  with  kindness ; 
Love  doth  to  her  eyes  repair, 
To  help  him  of  his  blindness, 
And  being  helped  inhabits  there. 

Then  to  Sylvia  let  us  sing, 
That  Sylvia  is  excelling; 
She  excels  each  mortal  thing 
Upon  the  dull  earth  dwelling; 
To  her  let  us  garlands  bring." 

What  kind  of  instruments  should  accompany  a 
serenade  ? 

Play  record  17634  (V),  or  A  5473  (C),  and  have 
class  (with  textbooks  at  hand)  sing  with  the  record. 

In  close  contrast  place  the  morning  serenade, 
"  Hark,  Hark !  the  Lark "  (from  the  tragedy  of 
"  Cymbeline  "). 

Create  interest  in  the  skylark,  a  bird  almost  sacred 
to  the  English.  This  tiny  bird  has  this  peculiarity, 
that  the  higher  it  soars,  the  louder  it  seems  to  sing. 
From  this  fact,  it  has  been  immortalized  by  poet, 
painter,  and  musician,  as  the  type  of  that  which  is 
happiest  as  it  approaches  the  gates  of  heaven. 

Familiar  to  many  school  children  is  the  famous 
picture  of  Jules  Breton,  "  The  Song  of  the  Lark," 
representing  a  peasant  girl  working  in  the  fields. 
She  works  close  to  the  ground,  for  she  uses  a  sickle. 
She  hears  a  song  and  looks  up  at  the  tiny  speck  in  the 
sky.  It  is  simple  and  sublime. 

Recite  the  lines : 

"Hark !  hark !  the  lark  at  heaven's  gate  sings, 
And  Phoebus  'gins  arise, 


1 62  LISTENING  LESSONS  IN  MUSIC 

His  steeds  to  water  at  those  springs 
On  chaliced  flowers  that  lies. 
And  winking  mary-buds  begin 
To  ope  their  golden  eyes ; 
With  everything  that  pretty  is, 
My  lady  sweet,  arise,  arise, 
My  lady  sweet,  arise!" 

Play  record  64218  (V)  (one  stanza  only). 

Another  Shakespearean  song  of  the  lark  has  words 
from  one  of  the  long  poems. 

"Lo,  here  the  gentle  lark,  weary  of  rest, 
From  his  moist  cabinet  mounts  up  on  high 
And  wakes  the  morning,  from  whose  silver  breast 
The  sun  ariseth  in  his  majesty." 

The  music  is  by  Bishop,  the  English  composer 
(b.  1786). 

The  beauty  of  the  words  is  not  apparent  in  the  song 
since  it  is  cast  in  the  inartistic  form  known  as  colora- 
tura. It  will  be  recalled  that  songs  of  this  character 
are  designed  for  the  sole  object  of  displaying  the 
voice  of  the  singer  rather  than  glorifying  the  art. 
The  theme  of  the  lark,  however,  is  unequaled  for 
the  imitative  trills  and  cadenzas  of  the  lyric  soprano. 

Play  record  88073  (V),  or  A  5554  (C). 

The  lesson  may  conclude  with  the  exquisite  song, 
Drink  to  Me  Only  with  Thine  Eyes,  the  words  of 
which  are  by  "  rare  Ben  Jonson,"  the  intimate 
friend  of  Shakespeare.  This  favorite  English  song 
is  in  several  school  texts  and  record  74204  (V),  or 
A  5132  (C),  may  be  followed  audibly  by  the  class. 


THE  ADOLESCENT  PERIOD  163 

IV.    The  Orchestra. 

Distinctions  between  tone  quality  in  voices 
and  in  mechanical  instruments  have  been  made 
all  through  the  grades,  beginning  with  the  organ 
and  the  bells  in  the  first-grade  lesson.  To 
bring  a  class  to  a  conception  of  the  orchestra 
and  its  function,  the  subject  may  be  summed 
up  in  a  single  lesson. 

No  matter  how  small  your  town  and  how 
remote  the  possibility  that  your  pupils  will  hear 
a  real  orchestra,  they  must  have  an  intelligent 
understanding  of  orchestral  music.  When  you 
started  as  a  teacher  you  were  presumably  Emer- 
sonian enough  to  "  hitch  your  wagon  to  a  star." 
Down  in  the  first  grade,  you  had  the  symphony 
as  the  objective  point,  since  it  is  the  high- water 
mark  in  musical  development  and  can  be  ren- 
dered only  by  an  orchestra. 

Even  in  a  village,  every  eighth  grade  knows 
a  brass  band,  and  also  the  components  of  a 
choir.  Consequently  you  may  approach  the 
subject  from  these  two  points. 

The  teacher  asks  : 

What  kind  of  instruments  have  you  noticed  in  a 
brass  band  ? 

"  Horns,  cornets,  trombones,  drums." 

Has  any  one  noticed  a  flute  or  a  violin  in  a  street 
band  ? 

"Sometimes  a  shrill  flute"  (piccolo). 


164  LISTENING  LESSONS  IN  MUSIC 

The  same  instruments  may  belong  to  an  orchestra, 
but  stringed  instruments  and  wood  winds  must  be 
added. 

Name  the  voices  making  a  perfect  choir. 

"  Soprano,  alto,  tenor,  bass." 

Also  the  baritone  quality  adds  much. 

Could  such  uses  of  the  voice  as  the  yodel  and  fal- 
setto, for  example,  be  employed  in  a  choir  ?  Why  not? 

"  Would  not  blend." 

For  the  same  reason,  there  are  many  instruments 
that  could  not  be  part  of  an  orchestra. 

An  orchestra  consists  of  four  divisions,  of  which 
three  are  choirs.  (The  teacher  should  evolve  a 
blackboard  classification  from  the  text  which  immedi- 
ately follows.) 

The  string  choir  is  of  highest  importance  and  is 
composed  entirely  of  stringed  instruments.  The 
violins  are  divided  into  two  sections,  taking  the 
soprano  and  alto  parts,  respectively.  The  viola 
corresponds  to  the  tenor,  cello  to  the  baritone,  and 
contrabass  to  bass  voices  in  this  choir.  The  harp, 
which  is  a  stringed  instrument,  does  not  belong  to  the 
choir,  but  stands  alone.  When  the  violin  strings  are 
picked  by  the  fingers  instead  of  played  by  the  bow,  a 
staccato  effect  is  produced  called  "  pizzicato." 

Violin  pizzicato  merely  gives  variety  in  violin 
expression  and  has  no  connection  with  the  choir  idea. 

Play  record  35236  (V),  Part  I,  to  illustrate  instru- 
ments thus  far  mentioned.  The  interest  is  increased 
if  the  teacher  can  also  associate  pictures  of  these 
instruments  as  their  tones  are  heard.  (In  emergency 
these  may  be  procured  from  a  commercial  catalogue.) 

The  wood  wind  instruments  are  so  called  because 
made  of  wood  and  because  the  tone  is  produced  by 
force  of  the  breath. 


THE  ADOLESCENT  PERIOD  165 

The  flute,  oboe,  clarinet,  and  bassoon  correspond 
to  soprano,  alto,  tenor,  and  bass  voices  respectively. 
The  piccolo,  "  little  sister  of  the  flute,"  registers  an 
octave  higher  and  may  be  considered  as  a  shrill 
soprano.  The  English  horn  is  also  a  wood  wind 
instrument  with  delicious  baritone  quality,  though 
not  strictly  a  member  of  the  choir  —  being  a  solo 
instrument. 

Play  record  35236  (V),  Part  II,  to  illustrate  wood 
wind  instruments. 

The  brass  choir  consists  of  trumpet  (or  cornet), 
French  horn,  trombone,  and  tuba,  corresponding  to 
soprano,  alto,  tenor,  and  bass  voices  in  a  quartet. 

Play  35237  (V),  Part  I,  to  illustrate  brass  instru- 
ments. 

The  fourth  division,  facetiously  called  the  "  bat- 
tery," consists  of  a  variety  of  percussion  instruments, 
chief  of  which  are  kettledrums  (or  tympani),  small 
drum,  bells,  cymbals,  triangle,  gong,  xylophone,  etc. 

Play  35237  (V),  Part  II,  to  illustrate  the  fourth 
division. 

The  proportionate  number  of  different  instruments 
in  each  division,  and  their  relation  to  the  entire 
organization,  is  of  interest  to  the  class,  and  the 
figures  may  be  placed  in  the  board  outline.  Upon 
a  basis  of  eighty-five  instruments  the  following 
proportion  would  exist  (with  slight  variations) : 
fourteen  first  violins,  twelve  second  violins,  nine 
violas,  nine  violoncellos,  eight  double  basses,  one 
harp.  Total  strings  :  fifty-three.  One  piccolo,  three 
flutes,  three  oboes,  three  clarinets,  three  bassoons, 
one  English  horn.  Total  wood  winds :  fourteen. 


166  LISTENING  LESSONS  IN  MUSIC 

Three  trumpets,  four  French  horns,  three  trombones, 
one  tuba.  Total  brasses :  eleven.  Two  tympani, 
one  small  drum,  bells,  triangle,  etc. 

[NOTE.  —  A  diagram  may  be  made  on  the  board  show- 
ing the  class  the  seating  arrangement  of  choirs  and  position 
of  conductor.  Although  such  knowledge  is  unnecessary 
from  the  standpoint  of  the  listener,  the  teacher  may  speak 
of  the  importance  of  the  conductor ;  how  he  regards  the 
orchestra  as  a  huge  instrument  upon  which  he  may  play, 
etc.] 

There  are  certain  kinds  of  compositions  writ- 
ten for  the  full  orchestra.  Those  illustrated 
through  the  phonograph  in  these  pages  include : 

(1)  Symphonies. 

(2)  Overtures. 

(3)  Suites. 

(4)  Tone  Poems  and  Tone  Pictures. 

(i)  Symphonies. 

To  introduce  the  symphony,  review  the  lesson 
on  absolute  music  (page  122)  in  which  the 
development  of  the  phrase  is  illustrated  through 
the  Andante  of  the  Haydn  "  Surprise  Sym- 
phony." 

Since  an  entire  symphony  is  to  be  presented 
for  the  first  time,  the  significance  of  this  form 
should  be  made  clear. 

A  symphony  is  the  highest  form  in  instru- 
mental music  and  is  for  a  full  orchestra.  It 
has  four  divisions,  or  movements,  usually  desig- 


THE  ADOLESCENT  PERIOD  167 

nated  as  Allegro,  Andante  (or  Adagio),  Minuet 
(or  Scherzo),  Allegro  Finale.  These  four  move- 
ments are  intended  to  be  in  the  best  contrast 
with  each  other.  Thus,  the  first  may  be  called 
the  most  intellectual  movement  of  the  work ; 
the  second,  the  romantic  or  emotional  move- 
ment ;  the  third,  the  dainty,  playful,  or  popular 
movement ;  and  the  fourth,  the  brilliant  cli- 
max of  the  whole. 

Points  expressed  in  former  lessons  may  be 
recalled  ;  namely,  that  a  composition  —  musi- 
cal or  literary  —  is  a  development  of  ideas. 
Music,  well  defined  as  "  a  language  which  be- 
gins where  the  spoken  word  ends,"  contains 
ideas  which  must  be  sensed  if  one  is  to  listen 
intelligently.  A  musical  idea  is  a  small  combi- 
nation of  tones  having  individuality  and  inde- 
pendence ("  motive,"  "  phrase,"  or  "  theme," 
might  be  technical  equivalents).  An  idea  may 
be  expressed  through  various  keys,  tempos, 
rhythms,  and  orchestral  colors  for  the  purpose  of 
giving  variety,  but  its  individuality  must  not 
be  destroyed.  Therein  lies  the  mark  of  artistic 
genius  —  to  create  something  containing  variety 
while  also  preserving  the  sense  of  unity. 

In  following  musical  ideas,  and  observing 
their  expansion  and  elaboration,  one  comes  into 
the  realm  of  musical  analysis.  A  brief  analysis 


1 68  LISTENING  LESSONS  IN  MUSIC 

of  a  composition  will  add  to  one's  pleasure  in 
listening  to  serious  music,  although  this  phase 
of  music  study  should  not  be  carried  to  the 
point  of  dissection  in  public  school  lessons. 

Haydn  established  the  divisions  of  the  sym- 
phony, and  himself  composed  one  hundred  and 
twenty-five  works  in  this  form ;  hence  he  is 
called  "  The  Father  of  the  Symphony." 

Mozart  was  of  a  deeper  and  more  dramatic 
nature  and  his  symphonies  are  of  higher  char- 
acter. The  "G  Minor  Symphony"  is  one  of 
his  best  compositions. 

Write  on  the  board  : 
Symphony  in  G  Minor.  —  Mozart. 

In  discussing  this  work,  write  the  syllable  notation 
of  important  themes  on  the  blackboard  and  have  the 
class  sing  each  one  several  times.  The  children  can 
more  readily  follow  thematic  development  when 
hearing  the  symphony  later. 

The  first  movement  —  Allegro  Molto  —  contains 
two  themes  developed  with  great  skill.  The  first  is 
heard  through  the  strings  (Key  B  Flat,  four-four  time) : 

fa  mi  \  mi  -  fa  mi  mi  -  fa  mi  \mi-do--  do  ti  \  la  -  la  so  fa  - 
fa  mi  |  re  -  re  -  - 

The  second  theme  is  introduced  by  the  oboe : 

so fi  -  |  fa so  fa  mi  re  [do  -  do  -  do  -  re  - 

|  mi-,  fa  re-  - 

Between  these  two  main  themes  a  small  or  sub- 
sidiary theme  is  heard : 


THE  ADOLESCENT  PERIOD  169 

do  -  -  -  -  |  so .  so  |  fa  -  la  -  do  -  -  |  mi  -  so  -do  -  .  mi*  | 

re  -fa-  la-  re  -  |  do  -  mi  -  so  - 

With  these  three  little  tunes  in  mind  the  class  is 
ready  to  listen  intelligently  to  the  phonograph  record. 

The  second  movement  —  Andante  —  is  in  serious 
mood.  The  first  melody  steals  in  gracefully  through 
strings  and  horns  :  (Key  E  Flat,  six-eight  time). 

so  -  |  do  -  do  -  do  -  do  -  do  -  so  -  \  re  -  re  -  re  -  re  -  re  -  la  -  \ 
/a  -fa  -fa  -fa  -fa  -fa  -  \  fa  -  mi .  so  fa  .la  so- 

The  second  theme  has  a  tripping  character  too 
difficult  to  express  through  this  notation.  The  two 
themes  are  arranged  in  sonata  form.  The  move- 
ment as  a  whole  is  most  beautiful  and  impressive 
and  is  generally  considered  the  greatest  of  Mozart's 
Andantes. 

The  third  movement  —  Minuet  and  Trio  —  con- 
tains two  melodies  happy  in  character  and  in  pleasing 
contrast  to  each  other. 

The  fourth  movement  —  Allegro  Finale  —  is  "a 
jolly  wild  revel  of  child-like  joy "  with  brilliant 
development.  The  scholarly  critic,  Philip  Goepp, 
says  :  "  The  test  of  a  symphony  is  that  you  prefer  it 
to  all  others  when  you  hear  it,  and  by  this  test  G 
Minor  seems  greatest." 

In  the  following  lesson  take  a  symphony 
from  a  romantic  composer. 

Write  on  the  board  : 

Schubert's  Symphony  in  B  Minor  (unfinished). 

Remind  the  class  of  general  remarks  on  the  sym- 

Ehonic  form  in  the  preceding  lesson,  and  append  the 
allowing : 


170  LISTENING  LESSONS  IN  MUSIC 

A  symphony  can  be  sifted  to  a  discussion  of  a  few 
melodies  or  themes.  All  else  is  in  a  sense  subsidiary. 
The  theme  is  the  substance,  as  it  were.  It  is  neces- 
sary therefore  to  learn  the  themes  beforehand  in 
order  to  follow  their  development  when  the  sym- 
phony is  played.  The  class  should  therefore  sing 
these  little  tunes  again  and  again  until  they  are 
thoroughly  learned. 

•7 

Allegro  Moderate,  Key  of  D,  4  time. 

The  first  movement  opens  with  a  short  introduc- 
tory phrase  by  the  bass  strings : 

to  -  -  -  |  ti  -  -  do  - 1  la |  so  -  mi  -  fa  - 1  do  -  -  ti_-  \ 

mi  -----  - 

The  first  real  theme  sounds  high  and  clear,  though 
in  softest  tones,  through  the  wood  winds : 

mi  -  -  -  |  to  -.  s±lati\mi j  to_ -.  sj_la_ ti\  do |  re  - 

me  -.  re  \  do  -  ti_-  -  \  do 

The  second  theme,  one  of  the  most  charming 
melodies  in  all  music,  is  given  through  the  cellos 
and  delicately  echoed  high  in  the  violins  : 

do-so-t  do\  ti.  do  re  -.  do\tj_.  do  re  so  to  ti_  \  do  -  so_  -  -  \ 
do  -  so  -.  d o  |  di.  re  mi  -.  re  \  di.  re  mi  to  ti_  di  \  re  -  to-  . 
d i  |  re  -  so  -  to  ff  |  do 

Then  begins  the  development  of  these  two  themes 
and  a  mingling  one  with  the  other  through  different 
keys  and  varied  orchestral  colors. 

Second  movement  —  Andante  con  moto  (Key  of 

E,  |  time). 


THE  ADOLESCENT  PERIOD  1 71 

The  movement  begins  quietly,  and  throughout 
there  is  a  duet  between  a  persistent  staccato  figure 
in  the  bass  and  a  quiet  gliding  melody  in  the  violins. 

The  second  theme  is  sung  by  the  clarinets  and 
accompanying  strings.  Much  of  its  charm  lies  in  the 
syncopated  rhythm  and  cannot  be  adequately  shown 
through  quotation. 

Schubert  wrote  nine  symphonies.  Those  in  C 
Major  and  B  Minor  are  the  greatest  and  the  only 
ones  generally  performed.  The  latter  was  written 
six  years  before  his  death  and  is  known  as  "  unfin- 
ished," since  only  the  first  two  movements  were 
written.  These  movements  are,  however,  "  finished  " 
to  the  taste  of  the  severest  critic,  being  well  con- 
structed and  containing  beautiful  thematic  material. 

One's  education  seems  incomplete  without  famili- 
arity with  the  Fifth  (or  C  minor)  Symphony  of 
Beethoven.  Thus  far,  only  the  Andante  has  been 
recorded  for  the  phonograph. 

The  teacher  may  write  the  opening  theme  of  this 
second  movement  on  the  board  (A  Flat,  f  measure) : 

so_.  do  |  mi -mi.  re  do.  mi  \  to -.  di  re.  mi\fa.  mi  re.  fa  ti 
re  |  si.  ti  mi  -  mi.  re  \  di.la  re-.  fa\ti.so_do-  do.  mfj 
so  -  ~- 1  mi  -  -  do.  mi  \  so  —  |  etc. 

Play  record  35275  (V)  or  A  5422  (C)  for  the  class. 
This  Andante  has  the  customary  two  themes  and 
these  are  extended  through  variations. 

Among  modern  Andantes  none  is  more  dearly  be- 
loved than  the  Largo  from  Dvorak's  "  New  World 
Symphony."  After  the  slow  introduction,  the  class 
may  softly  croon  with  the  melody,  which  undoubtedly 
had  its  inspiration  from  our  own  Southland.  35275 
(V)  or  A  5360  (C). 


172  LISTENING  LESSONS  IN  MUSIC 

(2)  Overtures. 

An  overture  is  a  formal  composition  for  the 
orchestra,  and  dramatic  in  character.  Its  con- 
tent may  be  easily  followed  and  described. 
An  overture  may  be  introductory  to  an  opera 
and  contain  several  melodies  belonging  to  that 
work ;  or  it  may  be  an  independent  composi- 
tion intended  for  concert  purposes,  and  appro- 
priately called  a  Concert  Overture. 

In  presenting  this  form,  the  teacher  should 
make  a  brief  outline  of  the  content  of  each 
overture  for  the  blackboard.  The  following 
illustrations  are  suggestive : 

Tannhauser  Overture.  —  Wagner,  A  5337  (C) ; 
31382,  31383  (V),  contains  two  distinct  and 
well-contrasted  ideas.  The  first  is  religious 
and  characterized  by  the  sustained  tones  of 
the  "  Pilgrims'  Chorus."  The  hymn  of  faith 
and  courage  is  heard  from  a  distance,  draws 
nearer,  then  dies  away.  May  be  expressed 
thus :  <^  ^>.  The  second  idea  is  worldly, 
shown  in  a  persistent  and  delicately  wrought 
theme  known  as  the  "  Venusberg."  The  music 
is  attractive  and  enticing  and  accords  with 
the  subtle  influence  of  evil.  The  overture 
closes  with  the  hymn  of  the  Pilgrims  — 
which  may  signify  the  triumph  of  good  over 
evil. 


THE  ADOLESCENT  PERIOD  173 

The  preceding  description  is  for  the  teacher.     For 
the  board,  the  following  will  suffice : 

I  Pilgrims'    Chorus   <^    ^> 

Religious. 
II  (a)  Venusberg      Motive. 


Tannhauser  Overture 


Worldly.     A      per- 


sistent and  delicate 
movement. 
(b)  Pilgrims'  Chorus. 

(The  class  may  softly  accompany  the  singable  por- 
tions of  the  Pilgrims'  hymn.) 

William  Tell  Overture.  —  Rossini,  80128  (E) ;  A  5236 
(C) ;  A  5237  (C) ;  35120,  35121  (V) 

This  is  introductory  to  the  opera.  The 
Alps  and  Swiss  history  supply  a  background. 
There  are  four  distinct  divisions  in  the  com- 
position. 

1.  "At  Dawn"  one  hears  the  early  voices 
of  the  morning,   distant  echoes   of  the  Alpine 
horn,  etc. 

2.  "  The  Storm  "    is  vividly  described ;    the 
sharp  notes  of  the  piccolo  may  suggest  the  light- 
ning,   the    thunder   is    unmistakable,    and    the 
rain  pours  in  torrents.     As  the  fury  decreases, 
individual  calls  are  heard  of  the  shepherds  who 
are   out   looking   for   their   flocks.     The   tonal 
picture  is  clear  and  well  conceived. 

3.  "The  Calm"  is  peculiarly  national,  since 
the  folk  tunes  of  the  chalet  horn  are  faithfully 


174  LISTENING  LESSONS  IN  MUSIC 

introduced.     (More    detailed    account    of    this 
feature  of  the  overture  is  given  on  page  144.) 

4.  "  The  Finale  "  draws  upon  the  full  strength 
of  the  orchestra.  The  brasses  are  prominent 
and  add  brilliant  coloring  to  the  close  of  this 
composition. 

Carnival  Romain.  —  Berlioz.  35241  (V) 

This  overture  contains  two  strongly  contrasted 
musical  subjects : 

(1)  A  melody,    beautiful    and    romantic,  and 
well  developed. 

(2)  A  dance,   light  and   rapid.     This   dance, 
known   as  the  saltarello,   is  frequently  seen   in 
the  streets  of  Rome.     The  word  is  derived  from 
a  Latin  verb,  meaning  to  jump  or  to  leap,  and 
is  a  kind  of  jig  with  skipping  motions. 

Merry    Wives    of    Windsor.  —  Nicolai.      A    5039    (C) ; 

35270  (V) 

This  composition  contains  three  of  the  joyous 
tunes  from  the  opera  skillfully  worked  out.  It 
is  without  a  single  minor  strain  and  reflects  the 
comedy  element  of  the  opera. 

Midsummer  Night's  Dream  Overture.  —  Mendelssohn. 

31356  (V) 

The  young  Mendelssohn  was  inspired  to  write 
this  overture  by  reading  the  Shakespearean 


THE  ADOLESCENT  PERIOD  175 

comedy  with  his  sister  Fanny  (also  an  ac- 
complished musician).  It  was  arranged  first 
as  a  piano  duet.  It  opens  with  four  pro- 
longed chords  from  the  wood  wind  choir  (some 
one  has  called  them  the  "  boundary  between 
the  real  and  the  ideal ").  Then  follows  the 
daintiest  of  fairy  music  given  through  the 
strings.  As  the  movement  proceeds,  several 
picturesque  features  appear :  the  tripping  of 
fairies ;  the  dignified  theme  of  the  Duke  and 
his  retinue ;  and  the  more  romantic  theme  of 
the  lovers.  The  clownish  second  part  contains 
the  Bergomask  dance  of  the  tradesmen,  the 
comical  braying  of  a  donkey  (in  allusion  to 
Nick  Bottom),  and  the  play  of  the  elves.  In 
conclusion,  the  delicate  and  fairy-like  opening 
theme  is  heard,  the  dream  seems  to  dissolve,  and 
the  composition  logically  closes  with  the  four 
familiar  chords  heard  in  the  beginning. 

The  following  diagram  may  be  placed  on  the  board  : 
Introduction  :  four  prolonged  chords  (wood  winds) 
Fairy-like  music  (strings) 

(tripping  of  fairies 
theme  of  Duke  and  retinue 
romantic  theme  of  lovers 

i  Bergomask  dance  of  tradesmen 
comical  braying  of  donkey 
play  of  elves 


176  LISTENING  LESSONS  IN  MUSIC 

[  fairy-like  theme  of    beginning  (dream 
Conclusion   j      dissolves) 

[four  familiar  chords 

Magic  Flute.  —  Mozart.  68207  (V) 
The  opera  received  its  title  from  the  magic 
of  the  pipes  of  Tamino,  which  had  power  to 
control  men,  animals,  birds,  reptiles,  and  even 
the  elements.  The  continual  playing  of  the 
flute  throughout  the  work  is  a  feature  which 
gives  it  much  brilliancy  and  delicacy.  The 
plot  is  in  the  time  of  Rameses  I.  The  action 
is  at  the  Temple  of  Isis  at  Memphis.  The 
work  was  written  shortly  before  Mozart's  death 
in  1791,  and  is  one  of  his  most  important  com- 
positions. 

The  overture  is  introductory  to  the  opera 
and  contains  several  themes  which  belong  to 
the  larger  work.  The  main  movement  is  pre- 
ceded by  an  adagio  introduction,  followed  by 
a  lively  fugue  in  which  all  choirs  of  the  orchestra 
play  a  part.  This  fugue  is  truly  wonderful  in 
its  contrapuntal  skill,  and  the  structure  may 
be  briefly  explained  as  an  intellectual  composi- 
tion in  which  a  certain  subject  is  announced 
by  one  part  and  answered  by  other  parts  accord- 
ing to  certain  rules.  It  is  interesting  to  follow 
the  little  subject  as  it  seems  to  fly  from  one 
instrument  to  another. 


THE  ADOLESCENT  PERIOD  177 

Write  on  the  board  : 

Introduction :   slow. 

Main  movement :  fast.  A  fugue,  in  which  one 
voice  after  the  other  takes  the  tune  introduced  by 
the  flute. 

Rosamunde  Overture.  —  Schubert.  A  5277  (C) 

This  contains  two  strongly  contrasted  move- 
ments : 

Andante,  a  tender  melody. 

Allegro  vivace,  a  bright  and  joyous  dance. 

Leonore  Overture,  No.  3.  —  Beethoven.    35268  (Parts  I 
and  II) ;  35269  (Part  III)  (V) 

Beethoven  wrote  but  one  opera  "  Fidelio, 
or  Wedded  Love."  When  first  brought  out 
it  was  called  "  Leonore."  It  was  not  a  great 
success  and  underwent  many  changes,  among 
which  was  the  revision  of  the  overture.  Four 
distinct  introductions  were  written,  but  the 
one  known  as  No.  3  is  unquestionably  the 
greatest,  and  commonly  called  the  "  King  of 
Overtures."  Wagner  declared  the  revised 
"Fidelio-Leonore"  work  much  more  than  an  over- 
ture, —  in  short,  "  a  tremendous  drama  in  itself." 
The  composition  is  long  and  difficult.  It  has 
three  divisions,  viz :  the  introduction  (Adagio, 

3  2 
—    time),    the    main    movement     (Allegro,    - 

4  2 


178  LISTENING  LESSONS  IN  MUSIC 

time),  and  the  coda  :  these  divisions  correspond 
closely  to  phonograph  records  designated  as 
Parts  I,  II,  and  III.  The  slow  introduction 
opens  with  a  prolonged  chord  followed  by  a 
stately  descending  scale.  The  principal  theme 
and  its  early  development  conclude  Part  I. 

The  main  movement  contains  two  distinct 
and  pleasing  melodies  with  their  elaboration. 
To  the  one  already  mentioned  in  Part  I  is  added 
a  second,  serene  and  plaintive,  first  given  by 
the  horns.  This  is  known  as  Florestan's  air 
"  In  the  Spring  Days  of  Life  "  and  is  the  gem 
of  the  opera.  Two  prolonged  trumpet  signals 
—  which,  in  the  story,  announce  the  arrival  of 
the  Governor  —  furnish  a  dramatic  climax  in 
the  overture  and  close  record,  Part  II. 

The  coda,  or  end  piece,  is  an  elaborate  sum- 
mary of  the  whole,  and  as  a  feature  in  musical 
form,  characterizes  several  of  Beethoven's  most 
pretentious  works.  This  particular  coda  is 
built  of  the  principal  theme  and  is  a  magnificent 
specimen  of  its  kind. 

The  records  of  this  overture  should  be  played 
frequently  in  order  to  appreciate  its  value. 

Concert  Overture  "  1812."  —  Tschaikowski.   A  5174  (C)  ; 

31739  (V) 

The  title  refers  to  the  historic  invasion  of 
Moscow  by  Napoleon.  In  the  work  are  heard 


THE  ADOLESCENT  PERIOD  179 

the  Russian  National  Hymn,  followed  by  the 
Marseillaise.  Mixed  phrases  of  the  two  indi- 
cate a  struggle  between  the  forces.  The  over- 
ture triumphantly  closes  with  the  Russian 
Anthem. 

(3)  Suites. 

The  suite  is  a  series  of  pieces. 

The  ancient  suite,  precursor  of  the  sym- 
phony, is  not  treated  in  these  pages. 

The  modern  suite  is  often  the  basis  of  theat- 
rical ballet,  or  is  incidental  to  the  performance 
of  the  drama. 

Write  on  the  board  : 

Suite    from    Nutcracker    Ballet.      Tschaikowski 

(1840-1893). 

Explain  the  ballet  as  a  theatrical  representation 
of  a  story  in  which  the  plot  is  revealed  through  danc- 
ing. It  is  for  the  entertainment  of  the  audience 
rather  than  the  dancers.  The  ballet  is  more  modern 
than  opera.  This  form  of  entertainment  has  high 
favor  in  France  and  Russia. 

Tell  the  story  upon  which  this  music  is  based. 
(Appendix.) 

This  suite  contains  eight  pieces,  and  six  of  them 
are  reproduced  by  the  phonograph.  In  all  of  this 
music  the  class  must  remember  that  it  is  associated 
with  little  children,  or  fairies,  and  consequently  is 
delicate,  fairy-like,  and  often  humorous. 

The  suite  opens  with  a  miniature  overture,  in 
which  are  two  themes. 

None  of  the  heavy  sounding  instruments  are  used. 


l8o  LISTENING  LESSONS  IN  MUSIC 

What  is  the  word  for  staccato  effects  in  the  strings  ? 
(pizzicato). 
Play  record  17127  (V). 

The  second  number  is  the  March  which  accom- 
panies the  little  children  in  the  first  act.  It  is  a 
military  theme  for  clarinets,  trumpets,  and  horns. 
The  Christmas  tree  is  lighted  and  the  music  sparkles. 
The  children  enter  and  the  music  is  joyous.  There  is 
a  moment  of  surprise  and  admiration  which  is  ex- 
pressed by  a  tremolo,  then  the  march  theme  is 
resumed. 

Play  16974  (V). 

The  rest  of  the  suite  belongs  to  the  second  act  of 
the  story.  The  Dance  of  the  Chinese  Doll  is  oriental 
and  peculiar,  but  dainty  in  the  extreme.  The  follow- 
ing facts  relating  to  this  particular  number  will 
interest  the  class  :  Music  has  always  had  official 
recognition  in  China,  there  having  been  for  cen- 
turies a  portfolio  Minister  of  Music.  It  is  said  that 
when  the  gods  came  down  bringing  the  gift  of  music 
to  China,  they  did  not  teach  the  distinction  between 
music  and  noise.  Few  of  their  noises  on  so-called 
musical  instruments  are  musical.  Seventy-two  dif- 
ferent instruments  have  official  recognition  and  in 
this  number  are  seventeen  kinds  of  drums.  Their 
music,  which  contains  much  clanging,  banging,  and 
tooting,  is  not  pleasing  to  our  ear.  Their  scale  con- 
tains only  five  tones  and  no  half-tones.  For  further 
description  of  this  number,  see  page  185. 

Play  record  45053  (V). 

The  Dance  of  the  Toy  Piper  is  also  peculiar.  The 
class  may  imagine  one  of  the  little  toy  whistles 


THE  ADOLESCENT  PERIOD  l8l 

personified.  He  dances  about  and  plays  music 
which  sounds  as  though  he  used  a  comb  covered  with 
paper. 

Play  45053  (V). 

The  Arabian  Dance  is  the  queerest  music  of  all, 
and,  while  no  doubt  beautiful  to  an  Arab's  ears,  might 
become  very  monotonous  to  others  if  continued  at 
length.  (The  Arabian  scale  contains  seventeen  tones 
to  the  octave.) 

Play  45053  (V). 

The  delicate  little  Waltz  of  the  Flowers  closes  the 
suite. 

Play  A  5163  (C). 

Write  on  the  board  : 
Peer  Gynt  Suite. 

The  music  was  written  by  Grieg  as  incidental  to  the 
Ibsen  drama. 

Draw  from  the  class  as  much  as  possible  concern- 
ing the  character,  who  may  be  called  the  "  Rip  Van 
Winkle  of  Norway." 

Write  on  the  board  : 

Ibsen,  the  Shakespeare  of  Norway. 
Grieg,  the  greatest  musician  of  Norway. 

Tell  the  following  incident : 

Ibsen  and  Grieg  were  close  friends,  and  the  poet 
asked  the  musician  to  compose  incidental  music  for  a 
drama  which  he  was  writing  on  the  legend,  Peer 
Gynt.  Nine  compositions  were  written  to  accom- 
pany the  presentation  of  the  drama.  Five  of  these 


1 82  LISTENING  LESSONS  IN  MUSIC 

are  well  recorded  for  phonograph  and  should  belong 
to  a  school  collection. 

Peer  Gynt  is  a  lawless  character  with  a  wild  career. 
His  father  was  a  drunkard  and  died  over  his  cups. 
His  mother  was  half-witted,  sometimes  showing  a 
shrewish  disposition.  Peer  is  irresponsible,  never 
works,  gets  drunk,  and  then  imagines  he  is  somebody 
very  great.  He  becomes  a  tramp,  sometimes  wan- 
dering for  years  without  returning  home.  On  one 
occasion  the  drunken  Peer  has  gone  into  the  forest 
where  he  is  surrounded  at  night  by  a  crowd  of  moun- 
tain spirits  and  goblins  (called  "  trolls  "),  who  tease 
him  with  their  pranks  until  the  approach  of  dawn. 
The  troll  is  an  uncanny  creature. 

Write  on  the  board  : 
Dance  of  the  Trolls. 

The  music  at  first  is  light  and  weird,  suggestive  of 
the  approaching  trolls,  who  steal  from  out  the  mists 
and  shadows  surrounding  Peer  (calling  to  mind  the 
dwarfs  and  Rip  Van  Winkle,  in  the  Catskills).  The 
music  grows  in  excitement  as  the  goblins  rejoice  over 
the  torment  of  their  victim. 

Play  record  A  5227  (C) ;   80216  (E) ;   4351  (V). 

Write  on  the  board  : 
Death  of  Ase. 

This  is  a  wonderful  funeral  march,  wonderful  not 
only  because  of  its  mournfulness,  but  in  that  so 
much  has  been  made  from  one  short  theme. 

Write  on  the  board  and  have  class  sing : 
so  -  do  -  re 


THE  ADOLESCENT  PERIOD  183 

This  motive  is  sometimes  inverted  and  varied,  but 
the  three-tone  phrase  is  always  recognized.  Some 
funeral  marches  contain  a  contrasting  theme  of  hope 
and  consolation  —  as  in  the  Chopin  Funeral  March 
—  but  the  Grieg  composition  has  only  the  mood  of 
gloom. 

Play  record  A  5220  (C)  ;  80216  (E) ;   35007  (V). 

Write  on  the  board : 
Anitra's  Dance. 

Peer  wanders  into  Africa  and  represents  himself 
as  a  prophet  to  the  Bedouins.  A  group  of  Arabian 
girls  dance  before  him  for  favor  and  Anitra  pleases 
him  above  all  others.  She  is  the  coquettish  daughter 
of  the  Chief,  and  Peer  promises  to  make  her  one  of  his 
chosen  in  paradise.  Her  dance  is  light,  and  graceful, 
and  rapid.  One  can  feel  her  undulating  movements 
and  changing  pose.  The  music  is  wonderfully 
truthful  to  the  character  of  the  Egyptian  dance. 

Play  A  5227  (C) ;   80216  (E) ;   3i393  (V). 

Write  on  the  board  : 
Morning. 

This  represents  daybreak  in  Egypt  when  Peer 
watches  the  first  rays  of  dawn  strike  the  Pyramids. 
The  melody  is  simple,  pure,  and  fresh  as  the  dawn. 

Write  on  the  board  and  have  class  sing  : 
so  -  mi  -  re  -  do  -  re  -  mi 

This  theme  continues  throughout,  increasing  in 
power  and  with  ascending  cadences  as  day  advances. 
Other  and  minor  phrases  are  heard,  suggestive  of  the 


184  LISTENING  LESSONS  IN  MUSIC 

awakening  voices  of  nature.     (This  composition  will 
illustrate  to  the  class   the  term   "  modulation  " 
meaning  a  change  from  one  key  to  another.) 
Play  A  5220  (C) ;    80216  (E) ;    35007  (V). 

Write  on  the  board  : 
Solveig's  Song. 

This  early  love  of  Peer's  life  was  deserted  by  him 
because  he  felt  unworthy  of  her  virtues.  The  act 
—  so  at  variance  with  his  character  —  was  perhaps 
the  most  commendable  of  his  life.  But  as  is  often 
the  case,  Solveig  does  not  realize  the  suffering  she 
has  been  spared.  In  this  song  she  is  a  middle-aged 
woman,  still  fair  and  beautiful,  as  she  sits  spinning 
at  her  cabin  door.  She  has  not  known  of  Peer's 
escapades,  never  loses  faith  that  he  will  return,  and 
prays  that  God  will  care  for  him.  This  is  also  called 
the  "  Sunshine  Song  "  because  of  the  sweet  character 
of  the  singer. 

Read  poem.     (Appendix.) 

Play  record  A  1175  (C) ;   70072  (V). 

(4)  Tone  Pictures  and  Tone  Poems. 

There  are  points  of  resemblance  between  the 
arts,  particularly  poetry,  painting,  and  music, 
which,  by  the  way,  have  been  called  "  sisters." 

Certain  subjects  may  be  expressed  best 
through  poetry,  others  through  pictorial  art,  and 
still  others  through  the  language  of  tones. 
The  terms  are  associated  with  certain  modern 
symphonic  compositions. 


THE  ADOLESCENT  PERIOD  185 

The  tone  poem  was  created  by  Franz  Liszt 
(1811-1886),  who  left  thirteen  compositions  in 
this  form.  Other  composers  have  used  this 
form  successfully,  among  them  Saint  Saens. 

The  music  follows  the  poem  closely,  and  it  is 
necessary  to  read  the  poem  before  hearing  the 
music. 

Write  on  the  board  : 

Danse  Macabre.  —  Saint  Saens  (pron.  Sahn 
Sahnz). 

Read  the  poem  and  commentary.     (Appendix.) 

Play  record  35381  (V). 

It  will  be  clearly  evident  to  the  class  that  a  descrip- 
tive poem,  rather  than  a  picture,  must  have  given 
inspiration  to  the  musical  composition. 

Write  on  the  board  : 

Dance  of  x  the  Chinese  Doll.  —  Tschaikowski  (1840- 
1893)- 

The  teacher  asks : 

Who  has  heard  the  expression,  "  the  coloring  of  the 
orchestra  "  ? 

What  does  it  mean  ?  (Answers  reveal  vague  under- 
standing.) It  is  not  necessary  to  go  deeply  into  the 
subject  and  endeavor  to  associate  a  certain  color  with 
each  instrument,  but  in  a  general  way  one  thinks  of 
some  tones  as  light,  others  as  dark ;  some  as  brilliant, 
while  others  seem  only  neutral. 

Play  record  45053  (V),  reminding  class  that  it  is  a 
tone  picture  and  must  be  described  by  them,  with 
some  reference  to  its  color  scheme. 


1 86  LISTENING  LESSONS  IN  MUSIC 

After  the  little  piece  has  been  played,  the  teacher 
asks  : 

What  was  the  first  instrument  ? 

"  Bassoon." 

The  second  ? 

"  Piccolo." 

As  a  picture,  which  gave  the  background  ? 

"  The  first." 

Was  it  light  or  dark  ? 

"  Dark  colored." 

Describe  the  tone  of  the  piccolo. 

"  Light  or  silvery." 

You  may  consider  it  the  design. 

Was  there  anything  peculiar  about  the  melody  ? 
(Five-tone.) 

Whoever  saw  a  Chinese  woman  with  a  waddling 
walk  ? 

Does  the  rocking  rhythm  suggest  this  character  ? 

After  some  effort  the  following  description  is 
drawn  from  the  class  : 

"  A  picture  with  dark  background,  upon  which  is 
traced  a  delicate  silver  design  of  Oriental  character." 

Write  on  the  board  : 

Carnival  Romain.  —  Berlioz  (1803-1869).  (For 
description,  see  page  174.) 

With  the  full  play  of  brasses  it  is  not  difficult  to 
associate  a  brilliantly  colored  picture  of  a  street 
carnival  in  Rome  in  which  are  banners  flying,  and 
dancers  in  the  street  hopping  and  skipping  through 
the  steps  of  the  saltarello. 

Play  35241  (V). 

Ride  of  the  Valkyries,  A  5433  (C) ;  62693  (V).  (For 
description,  see  Appendix.)  This  composition  bears 


THE  ADOLESCENT  PERIOD  187 

close  analogy  to  a  moving  picture,  the  marvelous 
action  in  the  music  corresponding  to  rapid  changes 
in  scenery. 

Write  on  the  board  : 
The  Angelus. 

Question  class  for  its  meaning.  A  Roman 
Catholic  devotion  pertaining  to  the  Annunciation. 
The  name  comes  from  the  opening  words  of  the 
prayer  "  Angelus  Domini  nuntiavit  Mariae."  When 
this  devotion  is  recited,  a  bell  known  as  the  Angelus 
is  rung. 

Could  a  picture  express  the  idea  ? 

Most  eighth-grade  children  are  familiar  with  the 
picture  —  seen  in  many  schools  —  and  perhaps  some 
one  will  tell  that  it  is  by  Millet.  Show  the  picture 
(Perry  prints  may  be  distributed).  Have  the  class 
comment  upon  the  strong  points  in  the  picture  — 
points  both  expressed  and  implied.  Characterize 
the  peasants  as  earnest,  industrious,  devout.  Note 
the  church  spire  in  the  background,  also  the  time  of 
scene. 

Can  the  Angelus  idea  be  expressed  in  poetry  ? 
(Read  poems  in  Appendix.) 

Can  the  Angelus  idea  be  expressed  in  music  ? 

What  might  the  class  anticipate  ? 

"  Church  bell,  religious  music,"  etc. 

The  scene  is  inside  of  the  church.  At  first  the 
people  are  few,  but  as  numbers  increase,  the  volume 
of  tone  swells.  One  hears  chanting,  and  antiphonal 
(or  responsive)  singing.  Voices  of  the  organ,  the 
priest,  and  the  congregation  may  all  be  distinguished. 
Finally,  as  the  "  Amen "  is  declared,  the  people 
depart. 

Play  record  35437  (V). 


1 88  LISTENING  LESSONS  IN  MUSIC 

Write  on  the  board  : 

Massenet  (1842-1912),  French  composer.  "The 
Angelus  "  is  from  the  suite,  Picturesque  Scenes. 

In  subsequent  playing  of  the  "  tone-picture  poem," 
the  class  may  tell  how  many  bells  play  the  church 
chimes  (three),  and  also  may  sing  portions  of  the 
melody. 

Many  poems  and  pictures  may  be  associated 
with  music,  and  the  idea  of  correlation  of  the 
arts  will  not  only  promote  interest  in  good 
music,  but  will  increase  respect  for  the  best  in 
every  phase  of  art. 

V.  Musical  Criticism  :  the  Result  of  Intelligent 
Listening. 

(a)  Related  to  a  profession. 

The  teacher  may  create  interest  by  asking : 
How  many  have  read  musical  criticisms  in  the 
newspapers  ?  In  every  large  city,  the  daily  papers 
employ  critics  to  attend  the  musical  programs  and 
write  about  them.  Such  a  one  should  have  a  broad 
education.  He  need  not  be  able  to  play  or  sing, 
but  must  be  a  professional  listener,  knowing  how 
to  sense  musical  values  and  describe  and  comment 
upon  them  in  choice  language. 

(b)  As  a  subject  for  language  lessons. 

The    intelligent    written    criticism    of    music 
may  begin  with  the  seventh  grade. 
The  first  lesson  presents  the  plan  to  the  class. 


THE  ADOLESCENT  PERIOD  189 

The  teacher  states  : 

There  are  certain  definite  things  to  be  said  about 
music ;  this,  and  the  additional  fact  that  it  is  a  sub- 
ject of  universal  interest,  make  it  an  excellent  theme 
for  the  language  lesson. 

Points  to  be  criticized  are  made  clear. 

Rhythm,  melody,  harmony,  and  form  are  again 
defined  (see  page  63),  and  suitable  descriptive  words 
are  suggested  for  the  vocabulary  required.  On  the 
blackboard  the  teacher  will  write  the  words  itali- 
cized, and  the  class  may  suggest  (as  far  as  possible) 
those  which  follow : 

1.  Rhythm  may  be :  clear,  well-marked,  unbroken, 
complex,  tiresome,  syncopated,  intricate,  confused, 
etc. 

2.  Melody  may  be :   brief,  pleasing,  monotonous, 
joyful,  sad,  dignified,  delicate,  original,  contagious, 
fragmentary,  etc. 

3.  Harmony  may  be:   varied,  obscure,  elaborate, 
abundant,  peculiar,  plain,  unusual,  etc. 

4.  Form  may  be :  complex,  classic,  romantic,  free, 
symmetrical  (as  in  march  or  folk  dance),  diversified 
(as  in  art  song  or  rhapsody),  well-balanced,  varia- 
tions on  a  given  theme,  etc. 

5.  Tempo  may  be :    allegro,  andante,  largo,  etc. 

6.  Style,  or  Character,  may  be  :  dramatic,  fantastic, 
brilliant,  declamatory,  lyric,  devotional,  sentimental, 
esthetic,  romantic,  serious,  etc. 

7.  Performance : 

(a)  If  singer,  criticize  enunciation,   phrasing,  in- 
terpretation, and  tone  quality  (which  may  be  harsh, 
mild,  thin,  full,  hollow,  nasal,  metallic,  etc.). 

(b)  If  instrumental  soloist:    technique,  phrasing, 
temperament,  etc. 

(c)  If  orchestra,  consideration  of  its  predominant 
instruments. 


190  LISTENING  LESSONS  IN  MUSIC 

The  accompanist  should  be  considered  always 
(sympathetic,  indifferent,  etc.). 

This  knowledge  expected  from  the  seventh 
grade  may  seem  considerable  in  the  aggregate, 
but  it  has  been  given  out  little  by  little  through 
different  grades,  some  things  being  taught 
directly,  others  incidentally,  as  different  pieces 
were  presented. 

From  the  foregoing  it  is  evident  that  criticism 
must  be  made  upon  many  things  besides  the 
tune.  The  tune  of  a  serious  piece  of  music 
may  be  likened  to  the  plot  of  a  story.  It  is  the 
first  thing  sought,  and,  unless  interesting,  the 
work  is  in  danger  of  condemnation  —  be  it 
music  or  story  —  by  the  average  person.  This 
thought  may  be  pursued  by  the  class,  which 
will  appreciate  the  fact  that  much  great  liter- 
ature —  essays  for  example  —  is  rich  in  com- 
bination of  words  and  filled  with  deep  thought, 
yet  wholly  lacking  in  story  plot.  Much  great 
music,  with  but  fragmentary  melody,  contains 
rich  harmonies  and  profound  depth.  The  tune 
will  be  an  impressive  and  most  enjoyable  factor 
in  a  composition,  and  yet  may  not  be  described 
or  commented  upon  as  much  as  some  other  fea- 
tures. Effusive  adjectives,  of  course,  should  be 
discouraged. 

The  experienced  critic  makes  mental  observa- 


THE  ADOLESCENT  PERIOD  191 

tion  of  every  point,  but  does  not  mention  the 
more  obvious  details  in  his  written  criticism; 
nor  need  he  follow  any  prescribed  outline  in 
his  arrangement  of  ideas,  —  though  here,  judg- 
ment and  good  taste  are  always  evidenced. 
A  sentence  expressing  the  personal  opinion  of 
the  critic  is  justified  and  shows  courage  of  con- 
viction. 

For  more  thorough  elucidation,  each  point 
to  be  criticized  may  be  illustrated  through  sev- 
eral different  kinds  of  records,  as  for  example  : 

Rhythm  may  be  monotonous  (Indian  music). 
Rhythm  may  be  well  marked  (March). 
Rhythm  may  be  complex  or  intricate     (Rhap- 
sody). 
Rhythm  may  be  syncopated  (Negro  music). 

Melody  may  be  brief  (Indian  music). 
Melody  may  be  fragmentary  (Rhapsody). 
Melody  may  be  joyous  ("  Dixie  "). 
Melody  may  be  contagious  (Dvorak's  "  Humor- 
esque  "). 

Harmony  may  be  plain  ("  Humoresque  "). 

Harmony  may  be  peculiar  ("  Dance  of  the 
Trolls  "). 

Harmony  may  be  abundant  (Schubert's  "Un- 
finished Symphony  "). 

Harmony  may  be  rich  (Sextette  from  "  Lucia  "). 


192  LISTENING  LESSONS  IN  MUSIC 

Form    may   be    symmetrical    (Minuet,    "  Don 

Giovanni  "). 

Form  may  be  diversified  ("  Ride  of  Valkyries  "). 
Form  may  be  classic  ("Amaryllis"). 
Form  may  be  variations  on  a  theme  ("  Rustle  of 

Spring"). 

At  first,  compositions  familiar  to  the  class 
should  be  used.  Let  the  teacher  write  on  the 
board  the  title  of  the  composition,  composer 
of  the  music,  author  of  words  (if  a  song),  and 
name  of  the  performer;  in  short,  data  found 
upon  a  printed  program. 

Brief  and  important  comment  on  the  fore- 
going may  be  told  by  the  teacher  (any  his- 
torical or  romantic  incident  bearing  on  the 
composition  which  will  create  interest). 

All  points  which  may  be  obtained  by  inten- 
sive listening  should  be  left  for  class  discernment. 

At  first,  use  only  one  composition  for  a  lesson 
and  play  it  several  times,  if  necessary,  to  give 
a  clear  impression.  When  the  essential  points 
are  clear  to  the  class,  they  should  be  used  in  a 
well-arranged  written  composition.  Later,  two 
or  more  pieces  may  be  used  for  one  lesson,  thus 
admitting  comparisons  and  broader  criticism. 

Illustrations : 
Record  2816  (V). 


THE  ADOLESCENT  PERIOD  193 

The  class  is  provided  with  paper  and  pencil. 
The    teacher   writes    upon    the    board    the   title, 
composer,  and  performer : 

Old  Folks  at  Home.  —  Stephen  C.  Foster 

Sung  by  the  Hayden  Quartet. 

The  fact  is  noted  that  the  composer  is  an  American 
(b.  1826,  Pennsylvania;  d.  1864,  New  York),  and  our 
best-known  writer  of  folk  songs.  He  also  wrote  the 
words  for  his  songs. 

"  Like  Robert  Burns,  he  was  a  man  who  sang  the 
purest  poetry  of  human  life." 

Upon  the  board  are  written  the  words  which  are 
italicized.  After  hearing  the  record,  the  teacher 
stands  at  the  board  and  draws  from  the  class  addi- 
tional words  to  be  used  in  the  criticism. 

The  following  concludes  the  board  work : 

Rhythm,  clear,  simple. 

Melody,  appealing,  haunting. 

Harmony,  simple  vocally;  orchestral  accom- 
paniment. 

Tempo,  andante. 

Form,  folk  song,  appealing  to  tenderest  emotions. 

Character,  sentimental,  sweet,  and  sad. 

The  class  writes  down  the  data,  and  is  asked  to 
arrange  it  smoothly  in  composition  form,  prefaced 
with  an  original  introduction,  in  which  the  song 
becomes  a  feature  of  some  imaginary  concert  which 
has  been  attended. 

The  succeeding  illustrations  may  be  used  in 
the  same  manner  : 

Record  16417  (V). 

Title,  The  Venetian  Song. 


194  LISTENING  LESSONS  IN  MUSIC 

Composer,  Tosti,  an  Italian  by  birth  who  lived  most 
of  his  life  in  London.  He  has  written  many  beauti- 
ful songs. 

Words,  B.  C.  Stephenson. 

Performer,  Alan  Turner,  English  baritone. 

Rhythm,  well  marked. 

Melody,  simple,  pleasing. 

Harmony,  plain,  merely  supporting  the  melody. 

Form,  romantic,  —  Barcarolle  (boat  song),  a  form 
native  to  Venice,  and  intended  to  imitate  the  songs 
of  the  gondoliers. 

Character,  a  love  song ;   artistic,  popular. 

Singer,  a  clear  and  pleasing  voice,  with  good 
enunciation. 

Record  70049  (V). 

Title,  The  Dagger  Dance,  from  opera  "  Natoma." 

Composer,  Victor  Herbert. 

Performer,  arranged  for  orchestra. 

Rhythm,  strong  accent  (characteristic  of  Indian 
music). 

Melody,  simple,  barbaric. 

Harmony,  orchestration  for  drums  and  wind  instru- 
ments. 

Form,  primitive,  five-tone  scale. 

Style,  weird,  savage. 

Record  5754  (V). 

Barcarolle.  —  Offenbach's  "  Tales  of  Hoffmann." 

Played  by  Vienna  String  Quartet. 

Rhythm,  lilting,  characteristic  of  a  boat  song. 

Melody,  haunting. 

Harmony,  simple,  but  sufficient. 

Form,  romantic. 


THE  ADOLESCENT  PERIOD  195 

Character,  sentimental,  emotional. 

Performance,  well-balanced  quartet,  clear  phrasing. 

Record  74052  (V). 

Nocturne  in  E  Flat.  —  Chopin. 

Played  as  a  violin  solo  by  Mischa  Elman. 

Rhythm,  lulling. 

Melody,  delicate,  dreamy. 

Harmony,  sympathetic,  subordinated  piano  ac- 
companiment. 

Form,  free,  romantic. 

Character,  poetic. 

Performer,  lovingly  played  by  a  master  violinist. 
In  each  subsequent  playing,  the  teacher  may  strive 
to  have  the  class  increase  its  vocabulary  of  descrip- 
tive words. 

A  more  discriminating  criticism  is  required  of  the 
art  song.  Upon  the  board  is  written  : 

The  Boat  Song. 

Poem  by  Montrose  J.  Moses. 

Music  by  Harriet  Ware. 

Sung  by  John  Barnes  Wells. 

As  the  words  must  be  the  inspiration  for  the  music, 
the  teacher  recites  the  poem  slowly  and  thought- 
fully, and  with  rhythmical  stress.  As  the  record  is 
played  (17693  (V)),  the  class  jots  down  suitable 
adjectives  or  descriptive  phrases  suggested  by  the 
music. 

The  language  lesson  may  be  further  developed  as 
follows : 

The  teacher  asks  : 

What  is  the  first  essential  in  music  ? 

"  Rhythm,"  or  "  measured  motion." 


196  LISTENING  LESSONS  IN  MUSIC 

Describe  the  motion  of  the  water  against  the  boat. 
(Play  introductory  measures  again.) 

"  Rippling." 

What  is  the  next  essential  in  music  ? 

"  Melody." 

Listen  how  it  follows  the  movement  of  the  boat. 
(Play  record  several  times  if  necessary.) 

Describe  it. 

"  Graceful  "  melody  is  accepted,  although  various 
words  are  suggested,  as  "  pretty  "  and  "  beautiful." 

[NOTE.  —  To  induce  the  word  "graceful"  the  teacher, 
with  her  hand,  may  follow  the  undulating  melody  as  it  is 
played  and  ask  the  class  to  compare  the  movement  with 
that  of  dancing.  By  asking  what  word  would  describe  the 
character  of  both,  "graceful "is  thus  drawn  from  the  class.] 

What  is  the  next  essential  in  music  ? 

"  Harmony." 

Where  was  the  harmony  in  this  song  ? 

"  In  the  accompaniment." 

Characterize  it. 

"  Appropriate,"  "  suitable,"  "  delicate,"  "  grace- 
ful," are  all  suggested. 

Under  romantic  form,  what  is  the  musical  term 
for  a  boat  song  ? 

"  Barcarolle." 

Features  of  this  form  are  recalled  from  a  former 
lesson  (page  53). 

Under  song  form,  this  is  distinguished  as  an  art 
song  (which  the  class  may  define). 

Two  artists  created  the  song,  and  a  third  inter- 
preted it. 

At  least  a  sentence  must  be  given  to  each  one  of 
them. 

Mr.  Moses  is  an  American  man  of  letters  who  has 
written  A  few  choice  lyrics. 


THE  ADOLESCENT  PERIOD  197 

Miss  Ware  lives  in  New  York  and  is  in  the  first 
rank  of  American  song  writers. 

Mr.  Wells  is  a  lyric  tenor,  with  clear  enunciation, 
and  senses  the  significance  of  the  artistic  song. 

In  subsequent  playing  of  this  record,  apply 
significant  features  of  the  art  song :  as, 

1.  The   rising   musical  cadence  to   the   question, 
"  Shall  I  dream  and  let  you  float  ?  " 

2.  Falling  cadence  on,  "  Carry  me  down." 

3.  The  wave-like  motion  for  "  Where  water  lilies 
bend  and  bide." 

4.  Prolonged  tone  on  "  float  and  float." 

5.  Sustained  tones  for  "  far  away." 

6.  Deliberation  in  "  lazily,  dreamily,"  and  "  sway, 
little  boat." 

7.  Tones  of  regret  with  "  I  can  dream  no  more," 
and  "  Take  me  back  to  the  world's  lone  shore." 

8.  The  suitable  ending  of  the  song  in  which  a  high 
note  fades  away,  —  thus  closing  the  daydream. 

For  variety,  the  method  may  be  reversed  by  having 
the  class  examine  a  poem  thoughtfully  and  anticipate 
the  character  of  its  music  (before  hearing  the  record). 
This  applies  solely  to  the  art  song. 

Write  on  the  board  : 

Absent.     Words  by  Catherine  Y.  Glen. 
Music  by  J.  W.  Metcalf. 
Sung  by  Christine  Miller. 

The  teacher  recites  the  poem  with  significant 
thought : 

"  Sometimes  between  long  shadows  on  the  grass, 
The  little  truant  waves  of  sunlight  pass ; 
My  eyes  grow  dim  with  tenderness  the  while, 
Thinking  I  see  thee  —  thinking  I  see  thee  smile. 


198  LISTENING  LESSONS  IN  MUSIC 

"And  sometimes  in  the  twilight  gloom  apart 
The  fall  trees  whisper  —  whisper  heart  to  heart ; 
From  my  fond  lips  the  eager  answers  fall, 
Thinking  I  hear  thee,  —  thinking  I  hear  thee  call." 

A  discussion  of  the  poetic  values  should  follow, 
and  as  applied  to  the  musical  association,  the  teacher 
asks : 

What  tempo  is  required  for  the  longing  of  the 
lover  ? 

"  Andante." 

What  kind  of  melody  would  express  the  mood  of 
evening  ? 

"  Quiet." 

Describe  the  melody  by  other  words  which  will 
show  how  regret  and  sadness  touch  the  heart. 

"  Tender,"  "  appealing." 

Play  record  45075  (V),  and  then  ask : 

Was  there  anything  not  truthful  in  the  interpreta- 
tion ? 

"  A  woman  sang  instead  of  the  lover." 

This  language  work  when  carried  out  should 
correct  the  present  tendency  to  form  subjective 
criticism.  A  person  says,  "  I  do  not  like  that 
music."  Let  the  next  generation  refer  to  cer- 
tain qualities  in  the  piece ;  as,  the  melody  is 
not  clear,  the  rhythm  is  indefinite,  the  harmony 
is  obscure,  etc.  Let  every  one  down  to  the 
smallest  child  in  school  know  that  he  cannot 
have  sound  opinion  of  anything  until  he  under- 
stands it.  One  cannot  criticize  an  address  given 


THE  ADOLESCENT  PERIOD  199 

in  a  language  of  which  he  is  ignorant.  Music 
is  a  language  of  tones,  wonderfully  expressive 
and  full  of  meaning,  but  only  one  who  gets  its 
content  can  render  a  criticism  which  has  value. 
Of  course  there  is  good  music  which  defies  verbal 
comment,  —  dances  and  the  purely  sensuous, 
for  example,  —  and  there  is  music  which  carries 
us  beyond  the  realm  of  the  finite  and  where 
words  seem  a  mockery ;  but  generally  speaking, 
in  the  words  of  Lavignac  :  "  Music  that  is  worthy 
of  the  name  must  awaken  our  emotions  and  bear 
calm  analysis." 


CHAPTER  FIVE 


/.  Additional  Remarks  on  the  "  Listening  Habit." 
II.  Emphatic  Reiterations. 
III.  Two  Essentials  to  Success: 

(a)  Knowledge  of  Subject : 

(1)  Reference  Books. 

(2)  Clipped  Articles. 

(b)  Enthusiasm  : 

(1)  Gained. 

(2)  Bestowed. 

TV.  Concerning  Records. 

Perhaps  one  never  realizes  so  fully  the  many 
things  left  unsaid,  as  in  a  concluding  chapter. 
Any  present  solicitude,  however,  is  offset  by  the 
realization  that  music  as  a  subject  is  immeas- 
urable and  unbounded,  and  that  commentary 
upon  music  is  unlimited  as  well. 

I.   The  Listening  Habit. 

The  most  important  mission  of  technical 
musicians  to-day  is  to  teach  the  rest  of  the 
people  to  listen.  Listening  is  just  a  habit  — 
an  intelligent  habit.  Listening  means  think- 

200 


CONCLUDING  SUGGESTIONS  2OI 

ing  of  what  you  hear.  As  one  can  think  of 
but  one  thing  at  a  time,  it  means  concentra- 
tion —  the  only  attitude  to  bring  to  serious 
music. 

In  the  degree  of  concentration  lies  the  differ- 
ence between  those  who  get  a  definite  impression 
from  music  and  those  who  do  not.  The  person 
who  hears  only  "  sounds  "  will  have  a  vague 
impression  and  can  make  no  intelligent  criticism, 
while  the  one  with  a  definite  impression  can 
voice  it  in  some  way. 

Listening  to  music  should  be  treated  like  lis- 
tening to  anything  else.  Early  in  life,  one 
should  learn  that  music  is  something  to  think 
about,  something  more  than  an  entertainment. 

In  an  address,  or  a  book,  one  expects  ideas, 
and  appreciates  their  concise  expression  and 
logical  arrangement.  Music,  as  well,  must 
contain  ideas  which  are  developed  as  in  the 
spoken  or  written  language.  One  gets  hold  of 
them  quickly,  if  they  are  clearly  stated,  and 
follows  them  easily  if  they  are  logically  ar- 
ranged. In  no  other  way  is  secured  a  definite 
idea  of  either  a  literary  or  a  musical  composition. 

There  are  many  things  in  an  address  sub- 
sidiary to  the  main  outline ;  as,  the  tone  of 
the  speaker's  voice,  his  expression,  his  style, 
eloquence,  etc.  The  ideas  may  have  flow- 


202  LISTENING  LESSONS  IN  MUSIC 

cry  embellishment.  There  may  be  attendant 
phrases ;  and  perhaps  an  introduction  and  a 
closing  flight.  But  the  ideas  themselves  and 
what  the  speaker  does  with  them  are  of  chief 
importance. 

Every  one  can  recall  some  particular  address 
which  contained  words,  words,  words,  but  not 
ideas ;  with  such,  may  be  paralleled  a  musical 
composition  consisting  of  impressive  technique 
and  skillful  ornamentation,  but  which  never 
gets  anywhere. 

Listening  should  bring  a  delight  that  is  both 
emotional  and  intellectual.  The  general  public, 
however,  enjoys  only  clearly-marked  rhythm 
and  the  melodies  which  arouse  the  emotional 
nature.  The  best  music  is  not  intended  to  set 
the  feet  to  tapping  and  the  body  to  swaying 
any  more  than  the  best  poetry  is  that  which 
charms  by  its  jingle. 

There  are  four  main  points  in  music  that 
impress  the  listener  :  rhythm,  melody,  harmony, 
and  form.  The  first  two  appeal  to  the  un- 
trained listener;  the  last  two  are  grasped  only 
by  those  to  whom  music  makes  intellectual 
appeal.  We  have  a  primitive,  rhythmic-melodic 
sense  which  the  commonplace  music  does  not 
pass.  Inversely,  artistic  music  begins  with  the 
harmonic  principle. 


CONCLUDING  SUGGESTIONS  203 

A  teacher  should  invite  frequent  comment 
upon  the  character  of  music ;  as  sometimes 
appealing  most  to  the  emotional  nature,  or 
again  to  the  intellectual.  The  best  music 
combines  the  two ;  that  is,  there  is  emotional 
response  to  the  rhythm  and  melody,  but  there 
is  something  also  which  makes  one  think. 

Music  which  gives  a  definite  impression  should 
be  discussed  by  the  class.  There  is  some  music, 
however,  which  cannot  be  described.  It  is 
experienced,  and  reminds  one  of  "  the  little 
girl  who  said  she  liked  poetry  though  she  didn't 
understand  all  of  it." 

Some  one  has  defined  music  as  "  an  intelli- 
gence expressed  through  time  and  rhythm 
and  governed  by  law  and  order."  It  is  easy  to 
respond  to  the  time  and  rhythm,  but  concen- 
tration is  required  to  get  the  law  and  order  of 
its  construction. 

Reference  has  long  been  made  to  music  as 
"  universal,"  and  the  "  birthright  of  man  " ; 
however,  so  much  emphasis  has  been  placed 
upon  the  technical  side  that  the  public  has 
regarded  music  as  belonging  to  a  profession  and 
a  favored  few. 

It  is  only  in  most  recent  years  that  a  person 
might  be  called  "  musical  "  who  did  not  "  play  " 
or  "  sing  "  ;  as  also  it  is  a  recent  realization  that 


204  LISTENING  LESSONS  IN  MUSIC 

the  esthetic  and  technical  sides  of  art  are  dis- 
tinct and  that  the  beautiful  in  art  may  be 
enjoyed  without  knowledge  of  the  technique 
by  which  such  art  was  produced. 

Music  does  not  belong  to  a  profession.  It 
belongs  to  everybody.  Every  one  should  under- 
stand it.  It  is  independent  of  race,  nationality, 
or  creed.  It  is  universal.  It  is  greater  than 
any  spoken  language  because  the  latter  is  local. 
The  Italian  language  belongs  to  Italy,  the  Span- 
ish to  Spain,  etc.,  but  every  one  can  under- 
stand the  language  of  tones.  The  baby  in 
Russia  or  France  or  Norway  will  go  to  sleep  by 
the  same  rocking  rhythm  and  soothing  arrange- 
ment of  tones.  The  soldiers  of  every  country 
will  thrill  at  a  patriotic  theme  and  march  to  the 
same  steady  rhythm. 

It  is  a  strange  fact  that  we  must  learn  to 
listen,  and  it  is  regrettable  that  so  few  have 
acquired  the  habit. 

A  few  years  ago  a  sensational  article  by 
Arthur  Farwell  appeared  in  a  music  journal. 
All  people  were  divided  into  three  classes,  the 
division  based  upon  their  attitude  toward  music. 
The  first  class  he  called  "  Apaches,"  since  they 
were  physical  music-lovers  and  cared  only  for 
the  music  which  made  them  pat  their  feet,  tap 
their  fingers,  or  sway  their  bodies.  The  next 


CONCLUDING  SUGGESTIONS  205 

class  wanted  music  as  a  part  of  a  romantic 
picture  —  sentimentalists  who  wanted  to  feel, 
though  they  had  no  idea  that  music  contained 
anything  to  think  about.  This  class  of  emo- 
tionalists he  called  "  Mollycoddles."  The 
third  class  was  intellectual,  and  knew  all  about 
motives  and  phrases,  development  of  the  sub- 
ject, etc.,  knew  what  music  they  liked  and  why 
they  liked  it.  Designated  as  "  Highbrows," 
they  sat  in  the  top  gallery  at  symphony  con- 
certs, thinking  all  others  more  or  less  vulgar. 

No  one  would  want  to  be  fitted  snugly  into 
any  of  these  classes,  and  yet  there  surely  are 
two  distinct  kinds  of  people  who  attend  con- 
certs :  one  gets  a  definite  idea  of  music  while 
the  other  has  the  haziest  impression  and  cannot 
make  a  single  intelligent  remark  concerning  it. 

It  is  the  legitimate  privilege  of  the  teacher 
to  "  create  atmosphere  "  for  her  subject.  In 
other  words,  this  means  she  should  do  or  say 
something  which  will  unconsciously  put  the 
class  into  the  right  attitude  for  the  lesson. 

In  the  first  lesson  with  the  phonograph,  the 
teacher  will  notice  the  prevailing  attitude  of  the 
children,  who  expect  to  be  entertained  and  even 
amused.  They  are  ready  to  laugh  at  the  very 
first  sounds,  irrespective  of  the  character  of 
the  record.  I  cannot  resist  referring  to  an 


206  LISTENING  LESSONS  IN  MUSIC 

experience  of  some  years  ago  with  an  eighth- 
grade  class.  The  children  came  from  the  poor- 
est district  and  their  acquaintance  with  the 
phonograph  was  gained  from  cheap  play-houses, 
restaurants,  and  from  open  doors  of  saloons 
where  it  was  a  feature  of  entertainment.  The 
school  -bought  a  new  machine,  and  in  cele- 
bration a  program  was  arranged,  which  opened 
with  the  "  Hallelujah  Chorus."  Imagine  my 
surprise  when  the  children  began  to  giggle  and 
laugh.  At  once  I  saw  my  mistake.  The  ma- 
chine was  stopped,  and  I  explained  the  wonder 
of  music,  some  of  which  could  make  us  laugh  or 
cry,  feel  happy  or  sad,  make  us  march  or  dance, 
grow  sleepy,  think  of  church  or  home  or  country, 
etc.  Before  starting  the  machine  again  they 
were  reminded  that  they  should  tell  what  kind 
of  music  it  was.  Their  attitude  changed  to 
one  of  thoughtfulness,  and  they  soon  discovered 
its  religious  character.  A  brief  history  of  the 
great  chorus  was  told  and  the  name  written  on 
the  board.  A  few  weeks  later,  when  the  class 
had  raised  money  for  records,  the  "Hallelujah 
Chorus  "  was  the  first  choice  on  their  list. 

II.  Some  Suggestions  and  Cautions,  Reiter- 
ated from  Preceding  Pages  for  Emphasis. 

Many  ideas  suitable  for  introduction  into  the 
listening  lesson  and  not  mentioned  in  this  out- 


CONCLUDING  SUGGESTIONS  207 

line  will  occur  to  the  teacher.  The  more  broadly 
the  subject  can  be  treated,  the  better  for  class 
interest.  This  manual  claims  to  be  merely 
suggestive  of  a  large  subject.  It  is  not  intended 
to  supply  exhaustive  data  for  a  course  in  musical 
appreciation.  Its  claim  is  for  method  of  pre- 
senting the  subject  and  for  suitably  graded 
material. 

Acquisition  of  facts  in  music  history  and 
biography  will  not  constitute  a  course  in  music 
appreciation.  These  supply  knowledge  rather 
than  culture,  and  are  well  in  their  place, 
but  that  place  is  secondary  to  music  itself. 
To  get  music  into  the  souls  of  others  should 
be  the  teacher's  endeavor. 

The  children  should  be  told  that  which  can 
be  assimilated  or  incorporated  with  what  they 
already  know,  since  unrelated  facts  or  ideas  are 
of  little  value. 

From  the  very  beginning  the  children  should 
understand  that  the  teacher  will  tell  nothing 
which  can  be  gained  through  listening.  If 
necessary,  the  same  record  may  be  played  again 
and  again  for  a  point  to  be  discovered. 

The  teacher  should  select  from  the  music 
books,  other  songs  illustrating  points  developed 
in  listening  lessons.  In  the  daily  music  lesson, 
also,  have  the  children  get  the  esthetic  value 


208  LISTENING  LESSONS  IN  MUSIC 

as  well  as  the  mechanical  features  of  each  song. 
There  is  every  reason  why  the  singing  and 
listening  lessons  should  be  in  close  correspond- 
ence. 

In  presenting  a  composition  based  upon  a 
story,  the  following  points  should  be  observed : 

Affect  the  same  interest  in  the  story  that  you 
wish  to  arouse  in  your  class. 

Forget  self  and  be  a  child  in  spirit. 

Use  only  words  which  are  in  the  vocabulary 
of  the  grade. 

Keep  to  a  brief  outline,  and  do  not  hesitate 
in  the  telling. 

Charm  by  a  pleasing  manner  and  your  mas- 
tery of  the  subject. 

Ask  direct  questions  on  the  main  points. 

Create  such  interest  that  the  children  will 
instinctively  respond. 

Do  not  interpret  in  the  realm  of  imagi- 
nation. Allow  each  child  to  have  his  own 
imagery.  Make  clear  the  definite  things  about 
music. 

Frequently  ask  "  who  can  hum  or  sing  the 
tune  "  of  a  familiar  piece. 

Avoid  the  much  abused  and  misused  word 
"  classical  "  when  referring  to  a  musical  com- 
position. The  term  "  absolute  "  or  "  pure  "  is 
preferable. 


CONCLUDING  SUGGESTIONS  209 

There  is  no  happier  subject  for  the  teacher 
than  music  appreciation.  The  listening  les- 
son never  becomes  monotonous,  since  new 
things  in  the  music  are  always  being  discovered 
and  there  is  active  thought  and  growth  all  the 
time.  While  close  concentration  is  insisted 
upon,  it  does  not  seem  an  effort  for  the  children 
because  of  the  pleasure  involved. 

III.   Two  Essentials  to  Success: 

(a)  Knowledge  of  subject, 
(i)  Reference  books. 

Every  supervisor  or  special  teacher  of  music 
is  more  or  less  dependent  upon  reference  books. 
In  recommending  a  few,  one  is  embarrassed  in 
leaving  unmentioned  a  long  list  of  worthies. 
The  number  of  books  on  music  appreciation 
alone  has  grown  so  rapidly  in  recent  years  that 
it  must  be  taken  as  convincing  evidence  of 
public  interest  in  the  subject.  With  these  the 
teacher  should  be  familiar.  It  is  not  feasible 
to  give  here  a  complete  list  of  reference  books 
on  music  history,  biography,  and  the  special 
subjects  bearing  upon  the  teaching  of  music 
appreciation,  but  the  teacher  will  find  no  diffi- 
culty in  obtaining  a  complete  bibliography  from 
public  library  or  book  store. 

A  well-chosen  book  is  a  teacher's  best  invest- 
ment. The  wise  teacher  begins  a  collection  of 


210  LISTENING  LESSONS  IN  MUSIC 

books  the  first  year  of  her  professional  life,  and 
adds  as  she  can  every  year  following.  By 
living  with  them,  she  makes  herself  more 
or  less  independent  of  them.  Marginal  com- 
ment and  annotations  but  prove  their  close 
intimacy. 

On  the  teacher's  private  shelf  for  frequent 
consultation  should  be  the  following  standard 
reference  books : 

Grove's  Dictionary  (five  volumes) 

American  History  and  Encyclopedia  of  Music  [ten 
volumes:  "Dictionary,"  "Opera"  (2  vols.), 
"Foreign  Music,"  "American  Music,"  "Musical 
Instruments,"  "Biography"  (2  vols.))  "Oratorios 
and  Masses,"  "Theory  and  Form"  (including 
Appreciation)] 

The  Evolution  of  the  Art  of  Music.  —  PARRY 

The  History  of  Music.  —  PRATT 

A  Complete  History  of  Music  for  Schools,  Clubs,  and 
Private  Reading.  —  BALTZELL 

Outlines  of  Music  History.  —  HAMILTON 

How  Music  Developed.  —  HENDERSON 

What  Is  Good  Music.  —  HENDERSON 

A  Child's  Guide  to  Music.  —  MASON 

The  Education  of  a  Music  Lover.  —  DICKINSON 

What  We  Hear  in  Music.  —  FAULKNER 

Critical  and  Historical  Essays.  —  MACDOWELL 

Music  and  Musicians.  —  LAVIGNAC 

Music  Dictionary  (abridged).  —  ELSON 

Songs  and  Song  Writers.  —  FINCK 

How  to  Understand  Music.  —  MATHEWS 

Complete  Musical  Analysis.  —  GOODRICH 


CONCLUDING  SUGGESTIONS  211 

(2)  Clipped  articles. 

The  special  music  teacher  should  read  cur- 
rent comments  from  leading  American  critics 
(Henderson,  Krehbiel,  Finck,  Apthorp,  Elson, 
Hale,  Mason,  Gilman,  Hughes,  etc.,  etc.).  She 
should  take  one  or  more  music  periodicals,  and, 
instead  of  accumulating  them,  get  the  habit  of 
filing  in  large  envelopes  clippings  upon  "  Public 
School  Music,"  "  Opera,"  "  Oratorio,"  "  Crit- 
icisms," etc.,  etc.  Small  filing  cabinets  for 
such  scattered  information  are  invaluable  when 
one  has  learned  to  use  them. 
(b)  Enthusiasm. 

(1)  Gained. 

One's  nature  is  always  stimulated  by  contact 
with  others.  The  teacher  should  therefore  be 
identified  with  local  and  state  organizations  — 
both  for  musical  and  for  general  educational 
interests.  The  suggestion  is  practical,  since 
nowadays  almost  every  state  has  its  associations 
of  music  teachers  as  well  as  educators. 

(2)  Bestowed. 

It  is  a  teacher's  province  to  create  enthu- 
siasm. She  should  be  aggressive  and  progres- 
sive, and  let  every  one  know  that  public  school 
music  is  one  of  the  most  important  issues  in 
the  community. 

"  A  musician's  value  to  the  public  is  not  to 


212  LISTENING  LESSONS  IN  MUSIC 

be  measured  by  his  technical  or  interpretative 
ability  alone,  but  by  his  enthusiasm  for  the  art 
in  general  and  his  willingness  to  participate 
actively  in  the  propagation  of  musical  truths 
through  various  movements." 

"  Manifestations  of  art  are  all  about  us,  but 
our  intellects  are  not  sensitive  to  them." 

"  Recognition  of  beauty  is  a  matter  of  educa- 
tion and  culture,  and  we  see  beauty  and  truth 
only  in  proportion  to  our  intelligence.  Others 
must  reveal  to  us  the  things  which  they  have 
discovered." 

Ruskin  says,  "  The  greatest  thing  a  human 
soul  ever  does  in  this  world  is  to  see  something 
and  tell  what  he  sees  in  a  plain  way." 

"  If  we  possess  the  power  to  enjoy  a  concep- 
tion we  are  second  only  to  him  who  creates  it 
for  us." 

Here,  then,  is  a  part  of  the  mission  of  a  public 
school  music  teacher,  and,  let  me  add,  the  more 
difficult  the  task,  the  more  essential  is  it  to 
stick  to  that  practical  text  from  Habakkuk, 
"  Make  it  plain." 

IV.  Concerning  Records. 

(a)  Basis  of  selection. 

(b)  System  of  recording  lessons. 

(c)  Varied     deductions     from     single 

records. 


CONCLUDING  SUGGESTIONS  213 

(a)  In  the  selection  of  records  one  should 
remember  that  only  inherent  worth  will  insure 
wearing  quality.  A  collection  of  records  should 
be  chosen  as  carefully  as  books,  or  pictures,  or 
friends.  A  song,  for  example,  which  one  might 
think  beautiful  at  first  hearing,  may  soon  be- 
come tiresome  because  of  an  over-sentimentality 
in  words  or  sugary  sweetness  in  melody.  A 
composition  should  be  heard  many  times  be- 
fore making  a  final  decision,  unless  its  reputa- 
tion is  already  established.  If  a  teacher  does 
not  trust  her  judgment,  she  should  consult  a 
musician  whose  opinion  is  respected.  The  in- 
fluence of  good  or  poor  music 'is  too  great  to 
be  lightly  regarded. 

In  each  school  system,  there  should  be  a 
library  of  educational  records  in  possession  of 
the  supervisor,  to  be  used  by  her  in  introducing 
or  evolving  some  point  in  her  course  of  music 
appreciation.  There  should  also  be  a  perma- 
nent list  for  each  building,  consisting  of  those 
compositions  worthy  of  frequent  repetition  and 
which  may  be  used  in  different  grades  and  with 
different  objects. 

The  supervisor  should  direct  the  purchase  of 
records  as  far  as  possible.  Some  schools,  how- 
ever, acquire  records  in  other  ways  —  by  gift  or 
purchase  —  with  the  result  that  sometimes  a 


214  LISTENING  LESSONS  IN  MUSIC 

heterogeneous  collection  is  found  which  requires 
censorship.  Undesirable  music  —  such  as  rag- 
time and  the  insipidly  sentimental  —  may  be 
tactfully  treated  by  using  in  close  contrast  with 
better  and  stronger  compositions,  and  calling 
the  attention  to  certain  desirable  features  in 
the  serious  music,  and  the  weak  phrases  and 
aimless  elaboration  in  that  which  is  poor.  The 
class  will  make  the  deduction  desired. 

(£)  A  supervisor  should  have  a  system  for 
keeping  a  record  of  her  own  lessons  in  apprecia- 
tion. The  following  is  simple  and  has  proven 
adequate  : 

Provide  manila  cardboard  covers  for  the 
educational  phonograph  records  which  circu- 
late. Upon  these  light-colored  envelopes  keep 
the  data  for  reference  pertaining  to  the  enclosed 
record.  On  upper  left  corner  write : 

The  private  catalogue  number, 

The  name  of  composition  and  composer, 

The  medium  of  expression ; 
as,  for  example : 

No.  43. 

Humoresque.  —  Dvorak. 

Violin  Solo. 

On  the  right  half  of  the  envelope  cover,  keep 
columns  for  the  three  items :  date,  school,  and 
grade ;  as,  for  example  : 


CONCLUDING  SUGGESTIONS  215 

May  2Oth,  Holmes,  6th. 

If  the  envelope  contains  a  song  record,  write 
the  words  on  the  reverse  side.  Keep  at  home 
a  reference  book  which  will  record  each  day's 
work.  By  this  method  the  complete  lesson 
given  in  each  grade  is  kept.  Such  record  men- 
tions only  the  private  catalogue  numbers ;  as, 
for  example  : 

May  2Oth,  (A.M.),  Holmes 

Grades  I  and  2  —  Nos.  4,  60,  23,  40. 

Grades  3  and  4  —  Nos.  17,  60,  40,  71,  18. 

Grades  5  and  6  —  Nos.  20,  16,  40,  60,  18. 

Grades  7  and  8  —  Nos.  41,  87,  90. 

(c)  There  are  many  kinds  of  lessons  to  be 
derived  from  a  single  record.  A  record  may  be 
merely  touched  upon ;  as,  for  example,  when 
a  few  rounds  will  illustrate  a  point ;  or  it  may 
be  played  through  again  and  again  for  analysis 
and  to  bring  out  several  ideas.  For  instance, 
Hauser's  Cradle  Song,  17254  (V),  is  used  in 
second  or  third  grade  only  through  the  repeti- 
tions of  the  first  phrase,  that  being  sufficient 
to  get  the  character  of  the  composition  (the 
point  desired).  In  later  grades  this  record 
should  be  played  throughout,  that  the  class 
may  find  other  phrases  and  their  treatment. 

A  teacher  should  exhaust  the  possibilities  of 
each  record  and  relate  its  several  points  to 


2l6  LISTENING  LESSONS  IN  MUSIC 

different   grades ;   as,  for  example,  the  William 
Tell  Overture  may  be  used  to  illustrate : 

In  the  fifth  grade, 

(1)  Folk  music  of  Switzerland  (The  Calm, 

Part  III). 

(2)  Descriptive  music  (The  Storm,  Part  II). 
In  the  seventh  grade, 

(1)  Geography  and  history  of  Switzerland. 

(2)  Tonal  distinctions  of  orchestral  instru- 

ments. 

(3)  The  form  of  the  overture. 
In  the  eighth  grade, 

As  a  feature  of  the  Rossini  Opera. 

The  Barcarolle  may  be  used  to  illustrate  : 

In  the  fifth  grade, 

(1)  Lesson  in  singing  the  subject  phrase. 

(2)  Two-voice  harmony  and  distinction  of 

soprano  and  alto  tone  qualities. 
In  the  seventh  grade, 

As  a  romantic  form  peculiar  to  Venice. 
In  the  eighth  grade, 

As    a    feature    of    the  Offenbach     Opera, 
"  Tales  of  Hoffmann." 

The  Dagger  Dance  may  be  used  to  illustrate : 

In  the  first  grade, 

Rhythmic  impression. 


CONCLUDING  SUGGESTIONS  217 

In  the  fifth  grade, 

(1)  Lesson  on  five-tone  scale. 

(2)  Indian  music. 
In  the  seventh  grade, 

Lesson  on  American  music. 
In  the  eighth  grade, 

As  a  feature  of  the  Victor  Herbert  Opera, 

"  Natoma." 

In  the  first  year  in  which  music  appreciation 
is  introduced  into  a  school  course,  it  is  advis- 
able to  use  several  records  in  each  lesson,  since 
this  plan  gives  not  only  a  broad  view  of  the  sub- 
ject, but  makes  it  more  attractive  because  of 
the  variety.  Subsequently,  it  is  well  to  use  a 
smaller  number  of  records  for  a  lesson  period 
and  to  view  a  single  composition  from  as  many 
angles  as  possible. 

As  said  in  the  beginning,  there  has  been  a 
desire  to  show  impartiality  between  different 
phonograph  companies.  Intentionally,  per- 
sonal preference  has  not  been  expressed  where 
several  records  on  the  same  subject  are  listed, 
although  it  must  not  be  inferred  that  there  is 
no  preference.  A  public  school  teacher  must 
be  unprejudiced,  and  select  material  having 
the  most  educational  value.  Between  different 
records  there  is  always  a  choice,  and  one  should 
hear  all  versions  before  making  final  decision. 


APPENDIX 

I.  TEXTS  OF  SONGS 

As  stated  elsewhere,  familiarity  with  the  words 
is  essential  to  the  study  of  a  song.  Whenever 
special  reference  has  been  made  in  this  book  to 
the  words  of  a  song,  the  text  or  the  source  from 
which  it  may  be  secured  is  included  in  this 
section.  As  a  rule,  the  teacher  will  be  able  to 
distinguish  the  words,  after  studying  the  record. 

Pit-a-Pat  Page  23 

Music  by  Jessie  L.  Gaynor,  words  by  Alice  C.  D. 
Riley.  For  words,  see  "  Songs  of  Child  World,"  No. 
I,  Riley-Gaynor. 

Slumber  Sea     .  CHISHOLM  Page  23 

Lullaby  ships  are  waiting  for  thee, 
By-low,  babykins,  by-low; 
Follow  the  sun  on  slumber  sea, 
By-low,  my  babykins,  by ! 

Gently  they  sail  on  to  dreamland  so  bright, 
Land  where  the  fairies  and  moonbeams  delight, 
There  where  the  lullaby  ships  go  at  night, 
By-low,  my  babykins,  by. 


220  APPENDIX 

By-low,  babykins,  by, 
Mother  is  sailing  with  thee ; 
By-low,  babykins,  by, 
Drift  on  the  slumber  sea. 

By  permission  of  The  S.  Brainarfs  Sons  Co.,  owners  of  tht  copyright. 

The  Slumber  Boat  Page  23 

Music  by  Jessie  L.  Gaynor,  words  by  Alice  C.  D. 
Riley.  Published  in  sheet  music  form  by  Clayton 
F.  Summy  Co.,  Chicago,  111. 

Song  of  the  Chimes  Page  33 

[A  lullaby  in  memory  of  the  great  Christmas  Child.] 

Twilight  falls  and  night  draws  near, 
So  we'll  rock-a-bye,  baby  dear. 
Nestle  close  on  mother's  arm, 
She  will  shield  thee  safe  from  harm, 
Lullaby,  sleep,  my  baby,  sleep. 

Long  ago  a  mother  mild 
Held  just  so  her  little  child ; 
Now  the  bells  ring  out  good  cheer, 
Telling  of  that  baby  dear, 
Lullaby,  sleep,  my  little  one,  sleep. 

—  Words  and  Music  by  WORRELL. 

Used  by  permission  of  the  White-Smith  Music  Publishing  Co. 

Highland  Cradle  Song  SCHUMANN  Page  47 

Hey  balou  ! 1  my  sweet  wee  Donald, 
Picture  of  the  great  Clanronald, 
Well  doth  know  our  gallant  chief  1 
Who  did  vie  young  Highland  chief. 

lHey  balou  (hushaby). 


APPENDIX  221 

Bide,  my  bonny  baby,  bide  thee, 
Hear  thy  father's  prayer  to  guide  thee, 
Thou  shalt  reign  the  country  thro', 
And  bring  home  a  Carlisle  cow. 

With  the  Lowlands  shalt  thou  parry, 
But  among  them  thou'lt  not  tarry ; 
When  thy  days  of  glory  come, 
Ne'er  forget  thy  Highland  home. 

—  BURNS. 

The  Little  Dustman  Page  47 

The  flowers  all  sleep  soundly 

Beneath  the  moon's  bright  ray, 

They  nod  their  heads  together 

And  dream  the  night  away, 

The  murmuring  trees  wave  to  and  fro 

And  whisper  soft  and  low, 

Sleep  on  !  sleep  on  !  sleep  on,  my  little  one  I 

At  every  window  peeping 

The  dustman  shows  his  face 

To  see  if  all  good  children 

Are  fast  asleep  in  place 

And  sprinkles  dust  into  the  eyes 

Of  every  one  he  spies. 

Sleep  on  !  sleep  on  !  sleep  on,  my  little  one ! 

—  Words  and  Music  by  BRAHMS. 

Rockin'  in  de  Win'  Page  48 

(A  Raccoon  lullaby.) 

Sleep,  ma  little  baby  'coon, 
Underneath  the  big  roun'  moon ; 
When  yo's  in  de  tree  a-swingin', 
Mammy  jes'  can't  keep  from  singin'; 
Sleep,  ma  little  baby  'coon ! 


222  APPENDIX 

Hunters  like  a  'coon  yo'  size, 
Flash  de  light  to  fin'  yo'  eyes ; 
Don'  ye  move,  an'  don'  ye  cry, 
Jes'  keep  still  'til  dey  go  by. 

Sleep,  ma  little  baby  'coon ! 

Rockin'  in  de  win',  so  slow, 

Mm  —  jes'  so. 

Ef  you  hear  de  hunters  roun', 
Don'  yo'  make  de  leastes'  soun* ; 
I'll  take  keer,  ma  little  baby, 
Guess  I'll  fool  de  hunters,  maybe. 
Sleep,  ma  little  baby  'coon. 

Even  if  dey  fin'  dis  tree, 
Keep  as  still  as  yo'  can  be ; 
Close  yo'  eyes  so  dey  can't  see, 
Den  jes'  leave  the  res'  to  me. 

Sleep,  ma  little  baby  'coon ! 

Rockin'  in  de  win',  so  slow, 

Mm  —  jes'  so. 

—  Words  and  Music  by  NEIDLINGER. 

Used  by  permission  of  W.  H.  Neidlineer  and  Theo.  Presser  Co. 

The  Cuckoo  Clock  GRANT-SCHAEFER  Page  48 

On  the  wall  hangs  a  brown  wooden  clock, 
Saying,  tick-tock,  tick-tock; 
'Twas  carved  from  a  tree  in  fair  Germany, 
Tick-tock,  tick-tock. 

In  the  top  is  a  little  bird  blue,  Cuckoo. 
Though  made  of  pine  wood 
'Tis  almost  as  good 
As  a  wonderful,  real  and  true  Cuckoo. 
Cuckoo,  Cuckoo,  Cuckoo. 


APPENDIX  223 

A  little  red  door  at  the  top,  flip-flop, 

Out  flies  the  bird  blue 

To  sing  just  for  you, 

Cuckoo,  Cuckoo,  Cuckoo,  Cuckoo. 

—  PFIRSHINO. 

Used  by  express  permission  of  Mrs.  Mena  C.  Pfirsking,  Instructor  in  Diction,  North- 
western  University,  Ecanston,  III. 

The  Four  Leaf  Clover  BROWNELL  Page  49 

I  know  a  place  where  the  sun  is  like  gold 
And  the  cherry  blooms  burst  with  snow, 
And  down  underneath  is  the  loveliest  nook 
Where  the  four  leaf  clovers  grow. 

One  leaf  is  for  hope,  and  one  is  for  faith, 

And  one  is  for  love,  you  know, 

And  God  put  another  one  in  for  luck. 

If  you  search  you  will  find  where  they  grow. 

But  you  must  have  hope  and  you  must  have  faith, 
You  must  love  and  be  strong.     And  so, 
If  you  work  and  you  wait,  you  will  find  the  place 
Where  the  four  leaf  clovers  grow. 

—  HlGGINSON. 

Copyright  1898  by  the  Macmillan  Company.  By  permission  of  the  publishers  and  of 
Mrs.  Ella  Hig[inson. 

The  Hungry  Windmill  Page  49 

Words  and  music  by  Anice  Terhune.  See  "  Dutch 
Ditties,"  Anice  Terhune. 

Joy  of  the  Morning  Page  55 

Music  by  Harriet  Ware,  words  by  Edwin  Mark- 
ham.  For  words  see  "  The  Man  with  the  Hoe  and 
Other  Poems,"  by  Edwin  Markham,  published  by 
Doubleday  &  McClure  Co.,  New  York  City. 


224  APPENDIX 

The  Swallows  COWEN  Page  55 

I  have  opened  wide  my  lattice, 
Letting  in  the  laughing  breeze, 
Which  is  telling  happy  stories 
To  the  flowers  and  the  trees ; 
For  the  spring,  the  spring  is  coming, 
'Tis  good-bye  to  all  the  snow. 
Yes,  I  know  it,  for  the  swallows 
Have  come  back  to  tell  me  so. 

In  one  corner  of  my  window, 
They  have  built  a  tiny  nest 
Where  the  rosy  sun  can  see  it, 
When  each  night  he  goes  to  rest. 
And  I  look  at  it  each  morning, 
From  my  window,  and  I  know 
Spring  is  coming,  for  the  swallows 
Have  come  back  to  tell  me  so. 

—  BlNGHAM. 

Copyright  1895  by  Booiey  y  Co.,  with  music  by  F.  H.  Cotoen.     Used  by  special  permission, 

From  the  Land  of  the  Sky  Blue  Water  CADMAN  Page  74 

From  the  land  of  the  sky  blue  water 
They  bro't  a  captive  maid ; 
And  her  eyes  were  lit  with  lightning, 
Her  heart  was  not  afraid. 

But  I  steal  to  her  lodge  at  dawning, 
I  woo  her  with  my  flute. 
She  sighs  for  the  sky  blue  water; 
The  captive  maid  is  mute. 

EVERHART. 

Used  by  permission  of  White-Smith  Music  Publishing  Co. 


APPENDIX  225 

Good  News  Page  76 

Chorus : 

Good  news,  de  chariot's  comin', 
Good  news,  de  chariot's  comin', 
Good  news,  de  chariot's  comin', 
I  don't  want  her  to  leave  me  behind. 

Dar's  a  starry  crown  in  de  hebben,  I  know, 
Dar's  a  starry  crown  in  de  hebben,  I  know, 
Dar's  a  starry  crown  in  de  hebben,  I  know, 
An'  I  don't  want  her  leave-a  me  behind. 

Dar's  a  long  white  robe  in  de  hebben,  I  know  (repeat). 
Dar's  golden  gates  in  de  hebben,  I  know  (repeat). 

Dar's  silver  slippers  in  de  hebben,  I  know  (repeat). 

—  OLD  NEGRO  "  SPIRITUAL." 

Live  a  Humble  Page  76 

Chorus : 

Live  a  humble,  humble,  humble  yourselves, 
Humble  yourselves,  de  bell  done  rung, 
Glory  and  honor,  praise  de  Lord, 
Humble  yourselves,  de  bell  done  rung. 

Watch  dat  sun,  how  steady  he  run, 

An'  don't  let  him  catch  you  with  your  work  undone. 

Did  you  ever  see  such  a  man  as  God  ? 
He  gave  up  His  Son  for  the  coming  time 
Just  to  save  a  poor  soul  from  a  burnin'  fire. 

If  you  see  God  in  de  mornin' 
He'll  come  ridin'  down  on  a  line  of  fire, 
The  fount  is  falling,  He'll  be  callin', 
Come  an'  join  de  Mizpah. 

—  OLD  NEGRO  "SPIRITUAL." 


226  APPENDIX 

Mammy's  Song  HARRIET  WARE  Page  77 

I  had  an  old  black  mammy 

Who  used  to  sing  to  me 

All  kind  of  funny  little  songs 

And  funny  poetry, 

All  about  a  heap  of  things ; 

But  the  one  I  liked  the  best 

Was  the  one  she  sang  when  I  went  to  sleep 

With  my  head  upon  her  breast. 


'Twas  "Hi,"  said  the  possum, 

"Jest  shake  that  'simmon  tree," 

"Golly,"  said  the  rabbit, 

"You're  a  shakin'  them  on  me." 

Then  they  picked  with  their  claws 

And  they  licked  their  paws 

And  they  tuk  a  heap  home  to  their  maws, 

A  heap,  oh,  a  heap,  honey, 

Heap,  heap,  heap, 

They  tuk  a  heap  home  to  their  maws. 

Then  I  would  raise  my  head  and  beg : 

"Oh,  sing  it  once  again." 

And  she  would  say,  "Hush,  honey,  chile," 

And  rock  and  pat  me  then. 

"Hi,"  said  the  possum, 

"Jest  shake  that  'simmon  tree,"  etc. 


But  I  never  heard  the  end 
Because  —  I  always  fell  asleep. 

—  PORTER. 

Uttd  by  permistion  of  Tht  John  Church  Company,  Cincinnati — New  York  —  London, 
tmd  oj  Harriet  If  art. 


APPENDIX  227 

Rockin'  Time  GERTRUDE  L.  KNOX  Page  77 

Come,  HI*  chile,  an  don'  you  know 
It's  rockin',  rockin'  time  ? 
When  all  the  birds  and  babies  go, 
An'  mammies  gather  'em  jest  so  ? 
Der  arms  are  hungry  for  de  fill 
Of  little  boys  a-lyin'  still. 
Won't  you  come  and  try  it,  honey  ? 
Ain't  you  glad  fo'  rockin'  time  ? 

Chorus : 

Rockin',  rockin'  time, 

De  sweetest  time  in  all  de  day, 

When  pickaninnies,  tired  of  play, 

Come,  glad  enough,  der  mammys'  way, 

All  limp  an  HI',  and  like  to  be 

Singin'  here  alone  wid  me. 

It  brings  de  babies  back  again, 

Dis  rockin',  rockin'  time. 

Hush,  lil'  chile,  de  crickets  sing, 

It's  rockin',  rockin'  time. 

An  lil'  lamps  de  pert  stars  swing, 

To  see  what  de  sandman's  gwine  to  bring, 

An'  if  yo'  eyeball's  shinin'  so, 

Fo'  sure  he'll  find  some  sand  to  throw. 

Jest  lie  still  and  fool  him,  honey, 

Shut  yo'  eyes  fo'  rockin'  time. 

—  GERTRUDE  L.  KNOX. 

Utfd  by  permission  of  Gtrtrud*  Ltvtnch  Knox  and  tht  publishers,  J.  Fischtr  &  Bro., 
Nm  York  Cuy. 

Sally  in  Our  Alley  Page  97 

Of  all  the  girls  that  are  so  smart, 
There's  none  like  pretty  Sally, 


228  APPENDIX 

She  is  the  darling  of  my  heart, 
And  she  lives  down  in  our  alley. 

Refrain : 

There  is  no  lady  in  the  land 
Is  half  so  sweet  as  Sally, 
She  is  the  darling  of  my  heart, 
And  she  lives  in  our  alley. 

Of  all  the  days  within  the  week 
I  dearly  love  but  one  day, 
And  that's  the  day  that  comes  between 
A  Saturday  and  Monday. 
Refrain. 

Henry  Carey  (1690—1743),  an  English  poet,  wrote  both 
words  and  music  of  the  above  song.  He  is  credited  also 
with  having  written  "God  Save  the  King." 

The  Wanderer  SCHUBERT  Page  102 

I  come  from  regions  high  and  free, 

To  humid  vales  and  moaning-  sea,  —  and  moaning  sea. 

I  wander  on  in  calm  despair, 

My  constant  sighs  demanding  where,  always  where  ? 

And  here  the  sun  appears  so  cold, 

All  faded  flowers,  all  life  grown  old, 

Their  speech  I  cannot  understand, 

A  stranger  still  in  every  land. 

Where  art  thou,  where  art  thou,  home  so  long  desired  ?  — 

Belov'd  and  sought  but  ne'er  acquired, 

The  land,  the  land  in  hope  so  green 

In  which  my  roses'  bloom  is  seen, 

Which  friends  unchanging  wander  o'er 

And  where  my  dead  ones  live  once  more, 

The  land  whose  language  is  my  own — ' 

Dear  land,  where  art  thou  ? 


APPENDIX  229 

I  wander  on  in  calm  despair, 

My  constant  sighs  demanding  where,  always  where  ? 

I  hear  a  spirit  voice  resound ; 

There,  where  thou  art  not,  there,  joy  is  found. 

—  SCHMIDT. 

A  Song  of  India          RIMSKY-KORSAKOFF          Page  105 

Thy  hidden  gems  are  rich  beyond  all  measure, 
Unnumbered  are  the  pearls  thy  waters  treasure, 
Oh,  wondrous  land  !     Oh,  land  of  India  ! 
Where  the  sea  encloses  cliffs  with  rubies  laden, 
Phoenix  there  reposes,  bird  with  face  of  maiden. 
Sweet  the  cadence  falling,  Paradise  recalling. 

Golden  flames  advancing,  hide  the  ripples  dancing. 
He  who  hears  that  singer,  shall  forever  linger. 
Thy  hidden  gems  are  rich  beyond  all  dreaming ; 
Beneath  thy  waves  unnumbered  pearls  lie  gleaming. 
Oh,  wondrous  land  !     Fair  land  of  India  ! 

—  Translated  from  Russian  by  COWDREY. 

A  May  Morning  Page  106 

Music  by  Denza,  words  by  Weatherly.  Published 
in  sheet  music  form  by  Chappell  &  Co.,  Ltd.,  New 
York  City. 

Will-o'-the-Wisp  SPROSS  Page  107 

Will-o'-the-Wisp,  with  your  dancing  light, 
Where  do  you  wander  into  the  night  ? 
Where  will  you  lead  if  I  keep  you  in  sight  ? 
Will-o'-the-Wisp ! 

Will  your  lantern  illumine  for  me 
A  fairy  ring  'neath  a  forest  tree  ? 


APPENDIX 

Or  will  you  beckon  me  down  to  the  sea  ? 
Will-o'-the-Wisp ! 

Will-o'-the-Wisp,  the  wise  people  say, 
Who  follows  your  lead  goes  far  astray, 
And  never  again  sees  the  light  of  day, 
Will-o'-the-Wisp ! 

Tho*  you  are  swift  as  the  flying  wind, 
The  treasure  you  seek,  I,  too,  will  find, 
So  come,  so  come,  let  us  leave  the  world  far  behind. 
Will-o'-the-Wisp,  come,  O  come,  Will-o'-the-Wisp. 

—  BENJAMIN. 

Used  by  permission  of  Aimlee's  Magaiint. 

The  Pauper's  Drive          SIDNEY  HOMER          Page  108 

There's  a  grim  one-horse  hearse,  in  a  jolly  round  trot, 
To  the  churchyard  a  pauper  is  going,  I  wot. 
The  road  it  is  rough,  and  the  hearse  has  no  springs, 
And  hark  to  the  dirge  which  the  sad  driver  sings : 
"Rattle  his  bones  over  the  stones, 
He's  only  a  pauper  whom  nobody  owns." 

O  where  are  the  mourners  !     Alas  there  are  none ! 

He  has  left  not  a  gap  in  the  world,  now  he's  gone  — 

Not  a  tear  in  the  eye  of  child,  woman  or  man ; 

To  the  grave  with  his  carcass  as  fast  as  you  can. 
"Rattle  his  bones  over  the  stones, 
He's  only  a  pauper  whom  nobody  owns." 

What  a  jolting  and  creaking  and  splashing  and  din ! 

The  whip,  how  it  cracks !  and  the  wheels  how  they  spin! 

How  the  dirt,  right  and  left,  o'er  the  hedges  is  hurled ! 

The  pauper  at  length  makes  a  noise  in  the  world. 
"Rattle  his  bones  over  the  stones, 
He's  only  a  pauper  whom  nobody  owns." 


APPENDIX  23! 

You  Bumpkins  !  who  stare  at  your  brother  conveyed, 

Behold  what  respect  to  a  Cloddy  is  paid  ! 

And  be  joyful  to  think,  when  by  death  you're  laid  low 

You've  a  chance  to  the  grave  like  a  gemman  to  go ! 
"Rattle  his  bones  over  the  stones, 
He's  only  a  pauper  whom  nobody  owns." 

But  a  truce  to  this  strain ;  for  my  soul  it  is  sad, 
To  think  that  a  heart  in  humanity  clad, 
Should  make,  like  the  brutes,  such  a  desolate  end, 
And  depart  from  the  light  without  leaving  a  friend ! 

Bear  soft  his  bones  over  the  stones, 
Though  a  pauper,  he's  one  whom  his  Maker  yet  owns ! 

—  T.  NOEL. 

The  Pirate  Song  H.  F.  GILBERT  Page  109 

Fifteen  men  on  a  dead  man's  chest; 

Yo-ho-ho  !  and  a  bottle  of  rum  ! 

Drink  and  the  devil  had  done  for  the  rest; 

Yo-ho-ho  !  and  a  bottle  of  rum  ! 

Hate  lies  close  to  the  love  of  gold ; 

Dead  men's  secrets  are  tardily  told ; 

Yo-ho-ho  !  and  a  bottle  of  rum  ! 

Dead  men  only  the  secret  shall  keep ; 

Yo-ho-ho  !  and  a  bottle  of  rum  ! 

So  draw  the  knife  and  plunge  it  deep ; 

Yo-ho-ho  !  and  a  bottle  of  rum  ! 

—  R.  L.  STEVENSON. 

Vaquero's  Song  VICTOR  HERBERT  ("Natoma")  Page  154 
For  words  see  score  of  the  Opera. 

Solveig's  Song  GRIEG  Page  184 

The  winter  may  go  and  the  spring  may  die ; 
The  summer  may  fade  and  the  year  may  fly; 


232  APPENDIX 

But  thou  wilt  come  again.     I  know  thou'lt  be  mine. 
Thy  faithful  word  is  spoken  and  I  wait  love,  always  thine, 
[Hums  a  chorus  as  she  spins.] 

God  help  thee  ever  His  sun  to  feel ; 
God  bless  thee  when  at  His  feet  you  kneel. 
Here  I  shall  wait  'til  thou  again  art  near. 
And  if  thou  tarry  long,  I  shall  come  to  you,  my  dear. 
[Hums  chorus.] 

—  IBSEN. 


The  Boat  Song  HARRIET  WARE  Page  193 

Where  will  you  take  me,  little  boat, 

All  on  a  summer's  day  ? 

Shall  I  dream,  and  let  you  float, 

Whither  away  ? 
Carry  me  down  the  rippling  tide, 

Where  waterlilies  bend  and  bide ; 
Take  me  whither  the  song  birds  hide, 

All  on  a  summer's  day. 
Oh,  I  am  dreaming,  little  boat, 

Rock  me  to  sleep,  and  float,  and  float; 
Far  away  sounds  a  feathered  throat, 

All  on  a  summer's  day. 

The  grasses  nod,  and  the  waters  flow, 
The  fleecy  clouds  sail  to  and  fro; 
And  I  would  find  where  the  breezes  blow, 
All  on  a  summer's  day ! 

Lazily,  dreamily,  sway,  little  boat, 
Bring  to  me,  bring  to  me,  as  I  float, 
The  scent  of  the  rose  and  the  song  bird's  note ; 
All  on  a  summer's  day ! 


APPENDIX 

Oh,  little  boat,  my  dream  is  o'er ; 
I  was  a  child ;  I  can  dream  no  more. 
Take  me  back  to  world's  lone  shore, 
All  on  a  summer's  day. 

—  MONTROSE  J.  MOSES. 

Ustd  by  permission  of  Montrose  J.  Masts  and  Harritt  Wart. 

II.   COMMENTARY   ON  RECORDS 

The  Angelus  —  (See  Page  187) 

O  solemn  bells  !     Whose  consecrated  masses 
Recall  the  faith  of  old. 

O  tinkling  bells  !     That  lulled  with  twilight  music 
The  spiritual  fold ! 

Your  voices  break  and  falter  in  the  darkness, 
Break,  falter  and  are  still  ; 

And  veiled  and  mystic,  like  the  Host  descending, 
The  sun  sinks  from  the  hill ! 

—  BRET  HARTB. 

Two  peasants,  homeward  from  the  fields  of  toil, 
Hear  holy  music  in  their  hasty  quest ; 
Their  longings  leave  the  sorrows  of  the  soil 
And  sweetly  wander  in  the  vales  of  rest. 

Not  theirs  the  Knowledge  that  is  guilt  and  grief, 
Not  theirs  the  Doubt  that  drives  their  God  away ; 
Behold  in  truthfulness  of  Fond  Belief, 
They  bow  their  heads,  and  lift  their  hearts  to  pray. 

—  FREEMAN  E.  MILLER. 

Ring  soft  across  the  dying  day, 
The  meadow  flushed  with  sunset  ray, 
Ring  out,  and  float,  and  melt  away. 
Angelus ! 


234  APPENDIX 

The  day  of  toil  seems  long  ago, 
While  through  the  deepening  vesper  glow, 
The  beckoning  bell  notes  rise  and  flow. 
Angelus ! 

And  now  upon  its  parting  swell 
All  sorrow  seems  to  sing  farewell, 
There  falls  a  peace  no  words  can  tell. 

Angelus!  _  _     ._ 

—  FRANCES  L.  MACE. 

Danse  Macabre.  —  Saint-Saens 
The  name  is  from  an  Arabic  word  meaning 
cemetery.  It  was  a  superstition  of  the  Middle 
Ages  that  on  Hallowe'en  the  dead  arose  from  their 
graves  for  a  carnival,  in  which  old  King  Death 
acted  as  master  of  ceremonies.  This  idea  was  so 
prevalent  that  pictures  of  it  may  still  be  seen  on 
walls  of  old  cathedrals  and  monasteries.  The 
composition  opens  with  twelve  strokes  (midnight) 
struck  by  the  hand  of  Death  upon  a  tombstone. 
A  light  staccato  passage  indicates  the  spectres 
tiptoeing  forward  to  take  their  places  in  the  fan- 
tastic circle.  Then  Death  tunes  up  his  fiddle,  — 
as  he  furnishes  music  for  the  dance,  —  but  being 
used  but  once  a  year,  it  will  not  come  up  to 
pitch.  The  dance  is  light  and  exciting,  and 
grows  in  speed  and  power.  A  sweet  plaintive 
lament  is  heard  —  a  brief  memory  of  life.  The 
wind  sighs  through  the  cypress  boughs.  The 
dance  grows  hilarious, — there  is  a  sudden  hush, 


APPENDIX  235 

a  distant  crow  of  the  cock,  —  a  signal  that  day- 
light is  coming  and  the  revel  must  end.  With  a 
hurry  and  scurry  the  ghosts  and  skeletons  go  to 
their  graves,  and  a  final  doleful  wail  from  the 
fiddle  closes  the  composition,  as  Death  is  last  to 
leave  the  field. 

A  French  poem  of  the  fourteenth  century  was  the  in- 
spiration for  the  tone  poem  by  Saint  Saens.  The 
free  translation  of  the  poem  (also  the  above  commen- 
tary) is  by  Edward  Baxter  Perry.  (See  page  185.) 

On  a  sounding  stone,  with  a  blanched  thigh  bone, 
The  bone  of  a  saint,  I  fear, 
Death  strikes  the  hour  of  his  wizard  power, 
And  the  spectres  haste  to  appear. 

From  their  tombs  they  rise  in  sepulchral  guise, 
Obeying  the  summons  dread, 
And  gathering  around,  with  obeisance  profound, 
They  salute  the  King  of  the  Dead. 

Then  he  stands  in  the  middle,  and  tunes  up  his  fiddle, 
And  plays  them  a  gruesome  strain ; 
And  each  gibbering  wight  in  the  moon's  pale  light, 
Must  dance  to  that  wild  refrain. 

Now  the  fiddle  tells,  as  the  music  swells, 

Of  the  charnal's  ghastly  pleasures  ; 

And  they  clatter  their  bones,  as  with  hideous  groans 

They  reel  to  those  maddening  measures. 

The  churchyard  quakes  and  the  old  abbey  shakes 
To  the  tread  of  that  midnight  host. 
And  the  sod  turns  back  on  each  circling  track 
Where  a  skeleton  whirls  with  a  ghost. 


336  APPENDIX 

The  night  wind  moans  in  shuddering  tones 
Through  the  gloom  of  the  cypress  tree ; 
While  the  mad  rout  raves  o'er  yawning  graves, 
And  the  fiddle  bow  leaps  with  glee. 

So  the  swift  hours  fly,  till  the  reddening  sky 
Gives  warning  of  daylight  near, 
Then  the  first  cock  crow  sends  them  huddling  below 
To  sleep  for  another  year. 

Valse  Triste.  —  Sibelius 

'  Valse  Triste "  (sad  waltz)  is  based  upon 
the  story  of  a  dying  woman  who  sees,  in  her 
delirium,  a  party  of  ghosts  dancing  in  her 
bedroom.  She  rises  from  her  bed  and  tries 
to  join  them,  but,  exhausted,  sinks  on  her  couch 
as  Death  appears.  The  mournful  strain  of  the 
fever-stricken  woman  contrasts  strangely  with 
the  delicate  waltz.  The  composition  contains 
but  two  ideas :  (i)  The  dying  woman  and 
(2)  The  dance  of  her  delirium.  The  composer, 
Jean  Sibelius,  is  the  best-known  musician  of 
Finland.  (See  page  125.) 

The  Nutcracker  Suite.  —  Tschaikowsky 

The  story  which  is  a  Dumas  version  of  one  of 
"  Hoffmann's  Tales "  is  based  upon  a  fairy 
tale  called  "  The  Nutcracker  and  the  Mouse 
King."  It  opens  with  a  Christmas  party  given 
for  a  little  girl.  Her  friends  are  invited  to 


APPENDIX  237 

share  the  beautiful  tree  and  each  receives  a 
gift.  Among  other  things  the  little  girl  is 
given  a  beautiful  silver  nutcracker  which 
pleases  her  very  much  and  is  the  envy  of  all 
the  other  children.  The  party  comes  to  an 
end  and  the  guests  depart.  The  little  girl  goes 
to  bed,  but  she  cannot  sleep,  and  so  when  all  is 
quiet  she  steals  downstairs  to  have  another 
peep  at  the  silver  nutcracker.  It  is  midnight, 
and  wonderful  things  happen  in  stories  at  this 
hour.  The  little  girl  sees  mice  scampering  about 
and  is  afraid.  Suddenly  and  mysteriously  the 
Nutcracker  is  endowed  with  life  and  begins 
to  drive  the  mice  away.  Just  then  Mouse 
King  appears  and,  marshaling  all  his  subjects, 
attacks  the  Nutcracker.  The  two  are  locked 
in  deadly  combat  and  finally  the  Mouse  King 
is  killed.  At  so  horrible  a  scene  the  little  girl 
faints  and  has  a  wonderful  dream  in  which  the 
Nutcracker  becomes  a  prince  and  she  a  prin- 
cess, and  they  fly  away  over  the  forest  to  the 
jam  mountain  in  the  kingdom  of  the  Sugar 
Plum  Fairy.  Oh,  such  a  beautiful  place  it  is, 
and  her  subjects  are  all  sweets  and  bonbons. 
The  queen  gives  an  entertainment  for  the 
prince  and  princess,  in  which  are  characteristic 
dances  by  the  Bonbon  Fairy,  The  Toy  Pipers, 
and  Chinese,  Arabian,  and  Russian  Dolls. 


23  S  APPENDIX 

Then  all  the  guests  join  in  a  beautiful  dance 
called  "  Waltz  of  the  Flowers." 

It  is  a  charming  creation.  When  first  pro- 
duced in  St.  Petersburg  in  1891  there  were  only 
children  in  the  cast.  (See  page  179.) 

The  Polka 

The  polka  is  the  national  dance  of  Bohemia. 
Its  success  has  no  parallel  in  the  history  of 
dancing.  It  raged  in  its  native  land  in  the 
early  thirties,  was  carried  into  foreign  countries, 
and  in  a  decade  had  conquered  the  world. 
The  name  polka  is  a  Bohemian  word  (pulka), 
meaning  "  a  half  step."  The  dance  was  taken 
to  Vienna  in  1839.  The  following  year  it 
besieged  Paris  and  became  a  rage.  Everything 
was  labeled,  as  "  polka  hats,"  "  polka  canes," 
"  polka  gloves,"  etc.  Soon  thousands  of  polkas 
were  composed  by  musicians  of  every  national- 
ity. In  1844  the  dance  was  introduced  into 
the  United  States  at  the  time  of  the  inaugura- 
tion of  President  Polk.  It  was  facetiously 
said  that  Polk  had  danced  into  office,  since  it 
was  the  feature  of  the  ball  at  the  White  House 
where  the  Bohemian  Polka,  written  by  the 
great  Vienna  composer,  Johann  Strauss,  was 
played  for  the  first  time.  (See  page  147.) 


APPENDIX  239 

The  Valkyrie  Maidens.  —  Wagner 

The  nine  Valkyrie  maidens  were  daughters 
of  Wotan  —  chief  of  the  gods  in  northern 
mythology.  Brunnhilde  was  the  favorite. 
Their  mission  was  to  visit  battlefields  and  bear  the 
slain  heroes  to  Walhalla,  the  abode  of  the  gods. 
As  they  rode  through  the  air  on  their  winged 
horses  they  jattered  a  peculiar  cry,  "  Ho-yo-to- 
ho  !  "  (fa  -  di  -  fa  -  la).  This  superhuman  call 
—  also  known  as  "  Brunnhilde's  Battle  Cry  "  — 
touches  the  high-water  mark  in  dramatic  music. 

The  Ride  of  the  Valkyries  depicts  these  god- 
like women  flying  through  space  among  moun- 
tain crags.  It  contains  wonderful  action  and 
much  of  what  is  called  orchestral  color.  The 
flying  clouds,  rushing  winds,  and  lightning 
flashes  are  vividly  suggested  by  the  stirring 
tones  of  the  orchestra. 

Brunnhilde  lost  her  divine  nature  in  punish- 
ment for  disobedience.  She  was  wrapped  in 
profound  sleep  for  a  generation,  and  protected 
by  a  wall  of  magic  fire  through  which  only 
Siegfried,  the  hero  of  the  world,  "  he  who  knew 
no  fear,"  could  penetrate.  The  Magic  Fire 
and  Slumber  motives  furnish  the  thematic 
material  for  this  highly  colored  and  picturesque 
composition.  (See  page  117.) 


240  APPENDIX 

Jubilee  Singers 

Fisk  University  was  founded  in  Nashville, 
1866.  Music  was  a  special  feature  and  the 
music  class  —  organized  into  a  chorus  —  trav- 
eled to  different  cities  to  give  concerts.  The 
fame  of  these  singers  spread,  and  in  1871  a 
selected  choir  of  thirteen  were  invited  to  Boston 
to  take  part  in  the  World's  Peace  Jubilee. 
They  surpassed  all  other  singers  in  ability  to 
enunciate  on  the  high  notes,  and  created  won- 
derful enthusiasm.  Henceforth  they  were 
called  the  "  Jubilee  Singers."  London  wished 
to  hear  them,  and  they  crossed  the  ocean  with 
their  simple  and  pathetic  music.  A  second  tour 
was  made  through  Holland,  Germany,  Swit- 
zerland, and  the  British  Isles.  Everywhere 
they  were  received  by  royalty  and  honored  by 
leading  musicians.  Their  "  Slave  Songs  "  and 
"  Spirituals  "  had  a  peculiar  fascination  for  all 
who  heard  them,  says  W.  L.  Hubbard.  The 
career  of  these  singers  was  unique.  That  these 
uncultured  people  could  bring  all  Europe  to 
their  feet  by  the  inherent  beauty  of  their  song, 
demands  for  the  negro  a  distinct  place  in  the 
musical  world.  They  earned  one  hundred  and 
fifty  thousand  dollars,  which  was  applied  to  the 
educational  uplift  of  the  race.  It  is  a  message 
of  song  that  finds  no  parallel.  (See  page  76.) 


APPENDIX  241 

Slave  Songs  and  Spirituals 

No  one  knows  their  origin.  An  old  "  Aunty," 
questioned  on  the  subject,  said  :  "  When  Mass'r 
Jesus  walk  de  earth  he  just  make  up  dese  yer 
spirituals  for  His  people."  These  songs  'are 
highly  emotional,  and,  when  sung,  the  body 
sways,  the  feet  stamp  rhythmically,  and  the 
vast  chorus  shouts  enthusiastically.  The  words 
are  rude  and  the  music  often  wild,  yet  they  are 
the  outpourings  of  an  ignorant  and  poverty- 
stricken  people.  Their  religious  longings  and 
ideals  are  expressed  in  limited  vocabularies. 
It  is  not  poetry,  but  life  itself.  The  singers 
arrange  their  own  harmonies  —  which  is  not 
the  least  interesting  feature  of  this  distinctive 
music.  Natural  musicians  are  the  negroes,  and 
these  songs  a  priceless  legacy.  The  freedmen 
act  ashamed  of  them,  however,  and  do  not 
sing  them  as  they  should. 

[From  preface  to  "  Cabin  Songs  "  by  T.  P. 
Fenner.  (See  page  75.)] 

Largo  al  Factotum 

"Largo  al  Factotum  "'is  of  much  interest  to 
upper  grades.  It  belongs  to  a  style  known  as 
"  Patter  "  songs,  in  which  the  singer  tells  of 
his  trade  and  his  accomplishments.  It  is  a 


242  APPENDIX 

splendid  character  study  of  the  barber,  Figaro, 
in  the  opera  "  The  Barber  of  Seville." 

The  scene  is  laid  in  the  old  Spanish  City, 
generations  ago  when  social  conditions  were 
vastly  different  from  those  of  to-day  and  when, 
for  example,  things  which  we  now  consider 
necessities  did  not  then  even  exist.  For  in- 
stance, there  were  few  newspapers,  and  people 
flocked  to  the  barber  shop  to  get  the  news. 
Figaro  was  an  important  personage,  for,  besides 
his  skill  as  barber,  he  acted  as  medical  advisor 
and  surgeon.  Also  he  was  a  professional  match- 
maker and  a  public  letter  writer  as  well,  in  those 
days  when  illiteracy  was  common.  This  bar- 
ber, Figaro,  had  become  very  much  puffed  up 
in  his  own  conceit,  and  in  this  song  wishes  to 
tell  what  a  great  man  he  is.  So  he  begins  : 
"  Make  way  for  the  factotum  of  the  town.  — 
I'm  the  greatest  man  in  Seville  —  I'm  in  great 
demand  —  You  should  hear  the  people  clamor 
for  my  services.  —  It's  Figaro  here,  Figaro 
there,  Figaro  up,  Figaro  down,  —  Figaro  trim 
my  beard,  Figaro  cut  my  hair,  Figaro  lance  my 
finger,  Figaro  write  me  a  love  letter.  —  It's 
Figaro,  Figaro,  Figaro.  Oh,  I'm  the  greatest 
man  in  Seville  —  Tra  la,  la,  la,  la,"  etc.  .  .  . 
And  thus  he  sings  as  he  struts  up  and  down  the 
street  in  front  of  his  shop. 


APPENDIX 


243 


The  humorous  effect  of  the  song  arises  from 
the  fact  that  the  greatest  number  of  words  are 
said  in  the  least  possible  time. 

Form  in  Music 

Very  superficial  treatment  of  musical  analy- 
sis will  suffice  for  the  public  schools  and  the 
general  public.  A  few  single  ideas,  easily 
grasped,  are,  however,  essential  to  intelligent 
listening.  These  should  be  understood  by  the 
teacher  and  used  judiciously.  It  is  a  fascinat- 
ing subject  to  technical  musicians  and  apt  to  be 
over-emphasized  by  them  in  their  efforts  to 
teach  musical  appreciation. 

Now  and  then  some  one  of  the  laity  objects  to 
musical  analysis  on  the  assumption  that  it  de- 
tracts from  the  sensuous  enjoyment  of  the 
music.  Nothing  could  be  further  from  the 
truth.  To  be  able  to  follow  the  subject  and  get 
the  structural  plan  of  music,  merely  adds  to 
one's  pleasure,  and  one  does  not  think  of  the 
process  after  the  habit  is  acquired. 

Everything  is  dependent  upon  form.  We 
could  not  see  a  thing  unless  it  had  some  out- 
line. It  is  as  necessary  in  music  as  in  material 
things ;  but  music  goes  as  quickly  as  it  comes, 
and  one  does  not  get  a  definite  idea  unless  he 


244  APPENDIX 

knows  beforehand  something  about  the  struc- 
tural plan.  Of  course  a  composer  must  have 
some  design  in  his  6wn  mind  when  he  writes 
a  piece  of  music,  and  there  are  some  few  general 
rules  which  all  composers  follow.  The  first  is 
the  repetition  of  the  phrase. 

(The  following,  adapted  from  an  article  on 
"Form"  in  "Notes  to  School  Song  Book"  by 
Osbourne  McConathy,  should  be  clear  in  the 
mind  of  the  teacher,  and  applied  as  seems  fit.) 

A  phrase  is  the  smallest  portion  of  a  musical 
composition  that  expresses  a  complete  idea. 

A  composition  consists  of  a  number  of  phrases 
arranged  according  to  some  design  in  the  mind 
of  the  composer.  This  orderly  arrangement  is 
called  its  form. 

Repetition  of  phrases  is  the  basis  of  form. 

Phrases  are  repeated  to  give  unity,  and  con- 
trasted to  give  variety.  Phrases  balance  as  in 
lines  of  poetry. 

A  change  from  one  key  to  another  (which  is 
called  "modulation")  will  also  give  variety. 

Every  composition  must  have  unity  in  gen- 
eral and  variety  in  detail. 

Inexperienced  listeners  get  the  variety,  but 
not  the  unity. 

Further  consideration  of  the  subject  is  given 
on  page  66  et  seq.  and  page  120  et  seq. 


APPENDIX  245 

HI.   INDEX   OF   RECORDS 

Many  more  records  have  been  suggested 
than  the  average  school  can  afford  to  buy.  A 
desirable  list  is  indicated  by  a  star  (*)  and  a 
smaller  list,  which  should  be  the  basis  of  every 
school  collection,  is  marked  by  a  double  star  (**). 

It  is  not  the  object  of  this  book  to  include  a 
large  number  of  records,  but  mainly  types  of 
those  which  seem  to  accord  with  other  lessons 
in  public  schools. 

Records  which  are  needed  to  illustrate  some 
single  point  in  the  schoolroom  may  be  bor- 
rowed usually  from  a  local  phonograph  dealer. 
Such  cooperation  is  of  mutual  benefit  and  should 
be  established  at  once  by  the  supervisor. 

Grades  have  been  indicated  as  far  as  possible 
in  which  each  record  may  be  used.  The  figures 
are  not  altogether  satisfactory,  however,  since 
various  kinds  of  lessons  may  be  deduced  from 
a  single  composition. 

Phonograph  record  catalogues  are  issued 
every  six  months.  Record  numbers  are  often 
changed  when  the  old  records  are  re-issued  in 
double  form  or  in  new  and  better  combinations. 
The  index  in  this  book  refers  to  1916  catalogues 
and  contains  also  several  references  to  records 
temporarily  withdrawn  for  re-issuance,  and 


246  APPENDIX 

which  may  appear   in   a  subsequent  catalogue 
under  a  new  number. 

When  records  mentioned  in  this  book  are 
not  found  in  phonograph  catalogues,  ask  your 
dealer  if  such  will  be  re-issued  or  in  what  form 
the  old  number  is  to  be  found.  Or,  it  may  be 
necessary  to  write  to  the  phonograph  company. 

7-HS      Absent,  A  5710  (C) ;  80298  (E) ;  45075  (V). 
7-HS      "  Aida,"  Celeste  Aida,  A  679  (C) ;  55045  (V). 
7-HS      "  Ai'da,"   final   duet    (Vocal),    E  2097    (C) ; 

74398  (V). 
6-HS      "  Ai'da,"  final  duet  (Cornetrand  Trombone), 

35150  (v). 

6-HS    *"  Ai'da,"    Triumphal    March,    A  5223    (C) ; 

35265  (V). 
4-8       **A11     Through     the     Night,     S  7508     (C) ; 

64414  (V). 
6-8          Aloha  Oe  (Hawaiian  Farewell),  17035  (V) ; 

65348  (V). 

6-HS       Alpine  Specialty,  16968  (V). 
6-8         *  Amaryllis,  16474  (V). 
4-HS    **America,       A  1155       (C) ;        50169       (E) ; 

17578  (V). 
2-6        *American  Patrol,  A  1041   (C) ;    50145  (E) ; 

16523  (V). 
7-HS      Amherst     College      Song,      A  1182      (C) ; 

16873  (V). 

7-HS  *Angelus,  A  5703  (C) ;  35437  (V). 
4-6    *Annie  Laurie,  A  5437  (C) ;  80098  (E) ; 

16675  (V). 
6-HS  **Anvil  Chorus,  A  5667  (C) ;  82516  (E) ; 

17563  (v). 

7-HS      Asleep  in  the  Deep,  A  986  (C) ;    17309  (V). 


APPENDIX  247 

4-8          Auld  Lang  Syne,  "  Songs  of  Scotland  "  Medley, 

31869  (V). 
7-HS      Austrian    National     Hymn,     E  1928     (C) ; 

17669  (V). 
7-HS     *Ave      Maria      (Schubert),      A  mo      (C) ; 

82063  (E);    74339  (V). 
6-HS     *Ave  Maria  (Gounod),  88481  (V). 

6-8          Banjo  Solo,  16855  (V). 

7-HS      "  Barber  of  Seville,  The,"  Una  voce  poco 

fa,  A  5209  (C) ;   88301  (V). 

7-HS      "  Barber  of  Seville,  The,"  Largo  al  Facto- 
tum, A  1643  (C) ;   88181  (V). 
6-HS     *Barcarolle        (Offenbach),        S  7511      (C) ; 

83032  (E);   17311  (V);   5754  (V). 
8-HS      "  Bartered  Bride,"  Overture,  35148  (V). 
6-HS      Battle  Cry  of  Freedom,  16165  (V). 
6-HS      Battle  Hymn  of  the  Republic,  A  1155  (C). 
8-HS      Bee,  The,  64076  (V). 
4-HS  **Believe  Me  If  All  Those  Endearing  Young 

Charms,       A  5095    (C) ;       82020       (E) ; 

64180  (V). 
7-HS      Bendemeer's      Stream,      A      1272      (C) ; 

80109  (E);  74278  (V). 

8-HS  *Berceuse  (Chopin),  A  5597  (C) ;  55031  (V). 
8-HS  *Berceuse  ("Jocelyn,"  Godard),  A  5439  (C) ; 

80278  (E) ;  64233  (V). 

7-HS      Bloom  Is  on  the  Rye,  A  5718  (C) ;  80072  (E). 
7-HS      Blow,  Blow,  Thou  Winter  Wind,  A  669  (C). 
4-6          Blue  Bells  of  Scotland,  A  5351  (C). 
6-HS  **Blue    Danube     Waltzes,      A     5189     (C) ; 

80048  (E) ;    16391  (V). 
6-HS    *Boat  Song,  The,  17693  (V). 
2-6          Bobolink,  The  (et  al},  17686  (V). 
8-HS      "  Boheme,"      Thou      Sweetest      Maiden, 

A  5185  (C) ;  87512  (V). 


248  APPENDIX 

8-HS      "  Boheme,"  Musetta's  Waltz,  A  5397  (C) ; 

82073  (E) ;  64085  (V). 

6-HS      Bohemian  National  Hymn,  4223  (V). 
6-HS     *Boola  Song,  16860  (V). 
7-HS      Bright  Shines  the  Moon,  17405  (V). 
7-HS      Brook,  The,  A  5264  (C) ;  64324  (V). 
6-HS      Butterfly,     The      (Bendix),    S  3011      (C) ; 

80238  (E);  31347  (V). 
7-HS      Butterfly,       The      (Grieg),       A  1151    (C) ; 

60048  (V) ;   35448  (V). 
6-HS      Butterfly,  The  (Kohler),  60033  (V). 

8-HS  *Call  Me  Thine  Own,  A  1705  (C) ;  35140  (V). 
6-HS  *Calm  As  the  Night,  A  1212  (C) ;  16545  (V). 
8-HS  *"  Carmen,"  Toreador  Song,  A  5125  (C) ; 

88327  (V);   62618  (V);  82060  (E). 
8-HS      "  Carmen,"     Flower     Song,     A  5721      (C) ; 

74122  (V). 
8-HS      "Carmen,"  Selection  (Band),  A  5144  (C) ; 

16575  (V);  80062  (E). 
8-HS     *Carnival  Romain,  35241  (V). 
5-8          Carry   Me   Back   to   Old  Virginny,  656  (V) ; 

A  1820  (C);  80055  (E). 
8-HS     *"  Cavalleria        Rusticana,"        Intermezzo, 

A  5159  (C);   17311  (V);  80178  (E). 
6-8        *Cavatina  (Raff),  A  1180   (C) ;    82047  (E) ; 

16051  (V). 

8-HS      Chanson  Lorraine,  64232  (V). 
8-HS     *  Chanson  Provencale,  74449  (V) ;   80296  (E). 
2-HS     *Ciribiribin  Waltz,  A  5235  (C) ;    16357(7); 

50323  (E). 

6-HS  Clang  of  the  Forge,  A  332  (C) ;  64037  (V). 
4-6  *Comin'  through  the  Rye,  A  1190  (C) ; 

16162  (V). 

8-HS      Cornell  College  Songs,  A  1503  (C). 
2-HS  **Cradle      Song      (Brahms),      A  1304      (C) ; 

17417  (V). 


APPENDIX  249 

2-6      **Cradle  Song  (Hauser),  17254  (V). 

2-HS  **Cradle  Song  (Schubert),  87214  (V). 

8-HS     *"  Creation,  The,"  The  Heavens  are  Tell- 

ing,  35484  (V). 
8-HS      "  Creation,    The,"     With    Verdure     Clad, 

A  5421  (C) ;   60055  (V) ;  80290  (E). 
8-HS      Crucifix,    The,    A  5323    (C) ;     80112    (E) ; 

35012  (V). 

1-6   **Cuckoo  Clock,  The  (et  a/.),  17513  (V). 
4-6    Czardas,  S  3037  (C) ;  17003  (V). 
6-HS  *Czarine,  Mazurka  La,  A  5288  (C) ;  16287 

(V).   ' 

1-6          Dance  California,  17357  (V). 

7-HS      Dance  of  the  Chinese  Doll,  45053  (V). 

6-HS    *Dance  of  the  Hours,  S  7511  (C) ;  80080  (E) ; 

31443  (V). 
4-HS    *Dance   of  the   Trolls   (In  the   Hall  of  the 

Mountain  King),  4351   (V);    A  5227  (C) ; 

80216  (E). 
7-HS      Danny   Deever,   A  5021    (C) ;    50067   (E) ; 

35476  (V). 

6-8          Danse  Creole,  45050  (V). 
7-HS    *Danse  Macabre,  A  1836  (C) ;   35381  (V). 
7-HS      Deep  River,  74246  (V). 
4-HS  **Dixie,  S  3022  (C) ;    16819  (V) ;  50212  (E). 
8-HS      "  Don    Giovanni,"     Open    Thy    Window, 

Love,  87112  (V). 

4-8        *"  Don  Giovanni,"  Minuet,  35060  (V). 
4-HS  **Drink    to    Me     Only    with    Thine    Eyes, 

A  5132  (C);  64401  (V);  74204  (V). 

7-HS      Eighteen-Twelve     Overture,     A  5174  (C) ; 

,  31739  (V). 

8-HS     *Elegie,  87101  (V)  ;    89066  (V) ;  82079  (E). 
7-HS      Eli  Yale,  16713  (V). 


250  APPENDIX 

8-HS  *"  Elijah,"  'If  with  All  Your  Hearts, 
A  5323  (C) ;  74088  (V) ;  80193  (E). 

8-HS       ;<  Elijah,"  Lift  Thine  Eyes,  17211  (V). 

8-HS  "  Elijah,"  Oh,  Rest  in  the  Lord,  A  5342  (C)  ; 
74290  (V);  82085  (E). 

8-HS     *Erl  King,  The,    A  5023  (C) ;  88342  (V). 

7-HS  "  Erminie,"  Lullaby,  S  3008  (C) ;  80113  (E)  ; 
17345  (V). 

6-HS     *Estudiantina,  A  1851  (C) ;   5869  (V). 

4-6          Farewell  (Cornet  Solo),  17035  (V). 

7-HS      Fauns,  The  55031  (V). 

2-8        *"  Faust,"    Soldiers'    Chorus,    A  1493    (C) ; 

80121  (E);   35227  (V);   74214  (V). 
7-HS      "  Faust,"  Waltz,  16552  (V). 
7-HS      Flatterer,  The,  70040  (V). 
4-8      **Flow    Gently,  Sweet    Afton,    A  5219    (C) ; 

17386  (V). 
8-HS      "  Flying  Dutchman,"  Overture,  A  5253  (C) ; 

31787  (V). 

8-HS      "  Flying      Dutchman,"      Senta's     Ballad, 

88116  (V). 
3-6        *Four     Leaf     Clover,     The,     A  1171     (C) ; 

64139  (V). 

6-HS     *From  an  Indian  Lodge,  17035  (V). 
6-HS     *From  the   Land   of  the   Sky   Blue   Water, 

A  1732  (C);   64190  (V). 
6-HS  **Funeral     March     (Chopin),     A  5150     (C) ; 

80073  (E);   35157  (V). 
6-HS     *Funeral  March  of  a  Marionette,  A  1211  (C) ; 

31081  (V). 
6-HS     *Funiculi-Funicula,  A  1851   (C) ;   80105   (E) ; 

16899  (V). 

6-8  Garibaldi  Hymn,  16136  (V). 

6-HS    *Gavotte  (Gossec),  74164  (V). 


APPENDIX  251 

6-HS       German  Dance  (Dittersdorf),  74164  (V). 
8-HS      "  Giaconda,"  Star  of  the  Mariner,  64442  (V). 
6-HS      "  Giaconda,"  Dance  of  the  Hours,  35087  (V)  ; 

S  75"  (C). 

2-4        *Giants,  The  (et  at.),  17596  (V). 
4-6          Girl  I  Left  Behind  Me,  The,  17597  (V). 
8-HS    *Gloria      (Mozart's      "Twelfth      Mass"), 

A  5355  (C);  31589  (V). 
6-HS      Go  Down,  Moses,  17688  (V). 
6-HS  **Golden  Slippers,  16453  (V). 
6-8          Golden  Ring,  The,  A  1667  (C). 
6-HS      Good  News,  17663  (V). 
4-6          Greeting  (Folk  Dance),  17158  (V). 
4-6          Guitar      and      Mandolin,      A  1747      (C) ; 

16382  (V). 

8-HS      Habanera,  A  Song  of  Havana,  64182  (V). 
6-HS       Hail  Columbia,  50169  (E) ;   17581  (V). 
6-HS     *"  Hansel  and  Gretel,"  Prelude,  31853   (V). 
6-HS      "Hansel      and      Gretel,"      Sleep,     Fairy, 

88419  (V). 
6-HS     *"  Hansel    and    Gretel,"    The    Old    Witch, 

64164  (V). 
6-HS     *"  Hansel    and    Gretel,"    Witches'    Dance, 

87131  (V). 
6-HS      "  Hansel  and  Gretel,"    Susy,   Little    Susy, 

88418  (V). 
7-HS  **Hark  !  Hark  !  the  Lark  (Voice),  A  5020  (C) ; 

64218  (V). 
7-HS     *Hark  !  Hark  !  the  Lark  (Piano),  A  5484  (C) ; 

88357  (V). 
6-HS      Harp    That     Once      Thro'     Tara's      Halls, 

A  1230  (C) ;   80124  (E) ;   64259  (V). 
4-6          Harp  and  Zither,  A  1486  (C) ;   17178  (V). 
7-HS      Harvard  Football  Songs,  A  1049  (C). 
2-6          Heather  Bells,  17178  (V). 


252  APPENDIX 

7-HS      Highland  Cradle  Song,  17556  (V). 

4-6        "Highland  Fling  (Folk  Dance),  S  3000  (C)  ; 

17001  (V). 

3-8        *Holy  Night,  S  7501  (C) ;   64106  (V). 
4-6        *Home,  Sweet  Home,  A  5022  (C) ;  82033  (E) ; 

16160  (V). 
6-8        *How    Can    I    Leave    Thee,    87505     (V) ; 

A  1689  (C). 
8-HS      "  Huguenots,"  Benediction  of  the  Swords, 

74275  (V). 
4-8        *Humoresque,    A    5412     (C) ;    82047    (E) ; 

17454  (V);   74163  (V). 
6-8          Hungarian  National  Air,  4314  (V). 
7-HS     *Hungarian  Rhapsody,  No.  2,  A  5230  (C) ; 

80135  (E);   35122  (V). 

4-6          Hungry  Windmill,  The  (et  al\  17513  (V). 
7-HS     *Hunter's  Song,  17623  (V). 
1-4        *Hymn  (Bells  and  Organ),  16825  (V). 
2-8          Hymns,  Trinity  Choir,  35110  (V). 

7-HS      I  Fear  No  Foe,  17422  (V). 

7-HS      I    Hear   a   Thrush   at   Eve,    A    1591    (C) ; 

64340  (V). 

7-HS      I've  Been  Roaming,  64404  (V). 
8-HS    *I  Waited  for  the  Lord,  88375  (V). 
7-HS      I    Would    That    My    Love,    A    1275    (C) ; 

16013  (V). 

1-3       **In  a  Clock  Store,  A  5684  (C) ;    35324  (V). 
6-HS     *Invitation    to    the    Waltz,    A    5464    (C) ; 

50112  (E);   31105  (V). 
6-8          Irish  Love  Song,  A  5488  (C) ;    80152  (E) ; 

87022  (V). 

6-8          Irish  Lullaby,  S  3018  (C). 
6-HS     *Italian    Street    Song,    80105    (E) ;    60031 

(V). 
7-HS      It  Was  a  Lover  and  His  Lass,  17634  (V). 


APPENDIX  253 

7-HS      "  Jewels    of    the    Madonna,"    Intermezzo 

i,  A  561  1  (C);   35381  (V). 
7-HS      "  Jewels  of  the  Madonna,"  Intermezzo  2, 

A  5611  (C);   35270  (V). 
7-HS    *"Jocelyn,"  Berceuse,  A  5368  (C)  ;    64233 

(V). 

6-HS    *Joy  of  the  Morning,  17693  (V). 
8-HS      "  Judas    Maccabaeus,"    Sound    an    Alarm, 
(V). 


4-6          Kamarinskaia    (Russian    Dance),    S    3002 

(C);    17001   (V). 

4-8          Kentucky  Babe,  A  866  (C). 
6-8          Killarney,     A     5020      (C)  ;      80070      (E)  ; 

16139  (V). 

4-HS    *Largo  (Handel),  A  5649  (C)  ;    50053    (E)  ; 

16525  (V). 
7-HS    *Lass  with  the  Delicate  Air,  The,  A  5352  (C)  ; 

17190  (V). 
6-HS    *Last     Rose     of     Summer,      A  1241    (C)  ; 

80101  (E)  ;    16813  (V). 
8-HS     *Leonore     Overture    No.     3,     A  5447     (C)  ; 

35268  (V)  ;   35269  (V). 
7-HS      Let     Joy     Abide     (Russian     Folk     Song), 

61181  (V). 
7-HS    *Liebestraum,    A  5443     (C)  ;     A  5374    (C)  ; 

70065  (V). 

4-6          Little  Boy  Blue,  64102  (V). 
4-8        Tittle  Dustman,  The  (Brahms),  17556  (V). 
6-HS     *Live  a  Humble,  17663  (V). 
7-HS      Lo,    Here   the    Gentle   Lark,   A  5554    (C)  ; 

88073  (V). 

5-8          Loch  Lomond,  A  5420  (C)  ;    16062  (V). 
7-HS     *"  Lohengrin,"   Elsa's  Dream,   A  5281    (C)  ; 

88038  (V). 


254  APPENDIX 

7-HS     *"  Lohengrin,"  Prelude,  Act  IH,  A  5665  (C)  ; 

80242  (E) ;   62693  (V). 
7-HS    *"  Lohengrin,"   Bridal   Chorus,   A  5414  (C) ; 

80242  (E);   16538  (V);   31846  (V). 
7-HS      Lost  Chord,  The,    A  5501  (C) ;  35049  (V). 
8-HS      Lotus  Flower,  The,  61207  (V). 
8-HS     *"  Louise,"    Since    the    Day,    A  5440    (C) ; 

80119  (E) ;   70085  (V). 
6-HS    "Love's  Old  Sweet  Song,  A  5324  (C) ;  74321 

(V). 

6-8          Low  Back'd  Car,  The,  A  1340  (C) ;  64329  (V). 
6-HS     *"  Lucia,"  Sextette,  A  5053  (C) ;  80239  (E) ; 

70036  (V). 
8-HS      "  Lucia,"      Mad      Scene,      A  5295      (C) ; 

55047  (V) ;   88299  (V). 
8-HS      "  Lucrezia  Borgia,"  It  Is  Better  to  Laugh, 

A  1643  (C);   64468  (V). 

7-HS      "Madame     Butterfly,"     Some  Day     He'll 

Come,  5250  (C) ;   70054  (V). 
7-HS      "  Madame  Butterfly,"  Duet  of  the  Flowers, 

89008  (V). 
7-HS     *"  Madame   Butterfly,"   Selections    (Band), 

A  5049  (C);  35148  (V). 
7-HS     *"  Magic    Flute,"    Overture,    A  5051     (C) ; 

68207  (V). 

6-HS     *Mammy's  Song,  17039  (V). 
4-6          Mandolin  Solo,  A  657  (C) ;    17363  (V). 
8-HS      "  Manon,  "      The     Dream,     A  689      (C) ; 

74258  (V). 
6-8          March  of  Italy,  Royal,  A  5050  (C) ;  16136 

(V). 
6-HS      March      of      the      Priests      ("Athalia "), 

S  7502  (C) ;   A  5262  (C). 
7-HS       Marche  Militaire,  35493  (V). 
7-HS    *  Marche  Slave,  A  5477  (C) ;  35167  (V). 


APPENDIX  155 

6-8  Maria,  Mari,  A  5179  (C) ;  16900  (V). 
6-HS  Marseillaise,  A  1733  (C) ;  16514  (V). 
6-HS  "  Martha,"  Good  Night  Quartet,  A  5462  (C) ; 

17226  (V). 
4-8          Massa's  in  de   Cold,  Cold  Ground,  A  852 

(C);    50060  (E);    16218  (V). 
6-8          May  Morning,  A  64158  (V). 
4-6          May  Pole  Dance,  17087  (V). 
6-8          Mazurka  (Chopin),  64224  (V). 
6-8        *Medley    of    American    Airs,    50212    (E) ; 

31510  (V);  31854  (V). 

4-8        *Medley  of  Folk  Songs,  A  5461  (C). 
5-8          Medley  of  German  Folk  Songs,  31687  (V). 
5-8          Medley  of  Irish  Airs,  31865  (V). 
6-8          Medley  of  Patriotic  Airs,  A  1685  (C). 
8  Medley  of  Scotch  Songs,  31869  (V). 

4-6          Medley  (Sunny  South),  16819  (V). 
8-HS      "  Meistersingers,"  Prelude,  68207  (V). 
8-HS      "  Meistersingers,"  Prize  Song,  A  5395  (C) ; 

74H5  (V). 

4-8        *Melody  in  F,  A  5649  (C) ;   16516  (V). 
4-8          Men  of  Yale,  March,  16713  (V). 
7-HS    *"  Merry    Wives    of    Windsor,"    Overture, 

A  5039  (C) ;  50090  (E) ;  35270  (V). 
7-HS      "Messiah,"     Comfort      Ye      My     People, 

A  55o6  (C) ;    74190  (V). 
6-HS    *"  Messiah,"  Hallelujah  Chorus,  A  5328  (C) ; 

31770  (V). 
7-HS     *"  Messiah,"    He    Shall    Feed    His    Flock, 

A  5342  (C);   85103  (V). 
7-HS      "  Messiah,"   I  Know  that   My   Redeemer 

Liveth,  70071  (V). 
7-HS     *"  Midsummer  Night's  Dream,"    Overture, 

31356  (V). 
6-HS      "  Midsummer  Night's   Dream,"  Nocturne, 

A  5393  (C) ;  35527  (V). 


-  APPENDIX 

6-HS    *"  Midsummer  Night's   Dream,"    Wedding 

March,  A  5093  (C) ;   3*159  (V). 
7-HS      "  Mignon,"     Knowest    Thou    the    Land? 

30475  (C) ;  91083  (V). 
7-HS      "  Mignon,"  Polonaise,  "  I'm  Fair  Titania," 

A  5448  (C) ;   88296  (V). 

5-HS  *"  Mignon,"  Gavotte,  A  5259  (C) ;  16323  (V). 
6-HS   "Mignon,"   Overture,   A  5047   (C) ; 

50059  (E);  31336  (V). 

5-8          Mighty  Lak  a  Rose,  A  1753  (C) ;  64308  (V). 
8-HS      Minnelied  (Love  Song),  64247  (V). 
5-8        *Minstrel   Boy,    The,    A    1144    (C) ;     64117 

(V). 
6-HS    *Minuet  Antique  (Boccherini),  A  5389  (C) ; 

74354  (V). 
6-HS  ** Minuet    in    G    (Beethoven),    A  1199    (C) ; 

64121  (V). 
6-HS    *Minuet       (Paderewski),        A  5637        (C) ; 

16474  (V);  88321  (V). 

6-HS      Minute  Waltz  (Chopin),  64076  (V). 
7-HS      Moon     Drops     Low,     The,     80140     (E) ; 

64200  (V). 

1-3        *  Mother  Goose  Lullaby  (et  a/.),  17719  (V). 
1-3      **Mother  Goose  Songs,  17004  (V). 
4-6          Mountain  March  (Folk  Dance),  S  3041  (C) ; 

17160  (V). 
4-6        *My     Old    Kentucky     Home,     3005     (C) ; 

82020  (E) ;    1997  (V) ;    16160  (V). 
7-HS      My  Pretty  Jane,  80072  (E) ;  74254  (V). 

5-8  *Narcissus,  S  3009  (C) ;    16029  (V). 

7-HS  *National  Airs  of  All  Nations,  31855  (V). 

2-HS  "  Natoma,"  Dagger  Dance,  70049  (V). 
6-HS      "  Natoma  "  Vaquero's  Song,  A  1070   (C) ; 

5871  (v). 

7-HS      Nightingale's  Song  (Nevin),  80156  (E). 


APPENDIX  257 

7-HS      Nocturne  in  E  Flat  (Chopin),  A  5374  (C) ; 

35133  (V);  74052  (V);  80107  (E);  A  5485 

(C). 
7-HS    *Nocturne  in   G    Major    (Opus   37,  No.   2, 

Chopin),  74313  (V). 
6-HS      Nocturne      (Mendelssohn),      A  5393      (C) ; 

35527  (V). 
7-HS      "Norma,"     Hear     Me,     Norma     (Band), 

A  5536  (C) ;    16323  (V). 

7-HS  Norwegian  Wedding  March,  71042  (V). 
7-HS  "Nutcracker  Suite,"  March,  16974  (V). 
7-HS  "  Nutcracker  Suite,"  Chinese  and  Toy  Pipers 

Dances,  45053  (V). 
7-HS      "Nutcracker    Suite,"   Miniature  Overture, 

17127  (V). 
7-HS      "  Nutcracker  Suite,"  Arabian  Dance,  45053 

(V). 
7-HS      "Nutcracker  Suite,"  Waltz  of  the  Flowers, 

A  5163  (C). 

7-HS      Oh,  For  the  Wings  of  a  Dove,  A  1259  (C) ; 

70083  (V). 
6-HS      Oh,   Happy  Day,   A  5373   (C) ;  80156   (E) ; 

17343  (V). 
7-HS    *Oh,  That  We  Two  Were  Maying,  A  5657  (C) ; 

82510  (E);   87110  (V). 
1-4      **Old  Chanticleer  (et  al),  17513  (V). 
4-6          Old  Black  Joe,  A  5175  (C) ;   64359  (V). 
4-6        *Old  Folks  at  Home,  A  5299  (C) ;  50060  (E) ; 

16454  (V) ;  2816  (V). 
6-8  Old  Nassau,  16860  (V). 
7-HS  On  the  Road  to  Mandalay,  A  5441  (C) ; 

50067  (E);   17068  (V). 

1-6          Orchestra  Bells,  A  1687  (C)  ;    17178  (V). 
7-HS  **Orchestral      Instruments,       35236       (V) ; 

35237  (V). 


258  APPENDIX 

8-HS      "  Orpheus  and  Eurydice,"  I  Have  Lost  My 

Eurydice,  88091  (V). 
6-8        *0    Sole    Mio,    A    5676    (C) ;    80171    (E) ; 

16899  (V). 

6-8          Quid  Plaid  Shawl,  A  1349  (C) ;    17386  (V). 
7-HS      Overture  on  National  Airs,  A  1156  (C). 
4-6          Oxdansen     (Folk    Dance),    S    3040    (C) ; 

17003  (V). 
7-HS       O  Wert  Thou  in  the  Cauld  Blast,  A  1 1 27  (C) ; 

5864  (V). 
1-4          Owl,  The  (et  al.\  17686  (V). 

7-HS      "Pagliacci,"      Prologue,      A     5547     (C) ; 

88326  (V). 
7-HS      "  Pagliacci,"  On  With  the  Play,  A  679  (C) ; 

82031  (E);   88061  (V). 
6-8          Paloma,    La,    A    5111     (C) ;     16529    (V) ; 

17442  (V). 
6-HS  *  "  Parsifal,"    Procession    of    the    Knights, 

31735  (V). 

7-HS      Pasquinade,  45050  (V). 
7-HS      Pauper's  Drive,  The,  A  5166  (C) ;  35285  (V). 
6-HS     *"  Peer  Gynt,"  Anitra's  Dance,  A  5227  (C) ; 

80216  (E);   31393  (V). 
6-HS  **"  Peer  Gynt,"  Morning,  and  Death  of  Ase, 

A  5220  (C) ;   80216  (E) ;   35007  (V). 
3-HS  **"Peer  Gynt,"  In  the  Hall  of  the  Mountain 

King  (Dance  of  the  Trolls),  A  5227  (C); 

80216  (E);  4351  (V). 
7-HS    *"  Peer  Gynt,"  Solveig's  Song,  A  1175  (C) ; 

70072  (V). 

6-HS      Pennsylvania  University  Songs,  A  15746  (C). 
S-HS  **Pilgrims'    Chorus,  A  5337  (C)  ;   82070  (E) ; 

17563  (V);  31382  (V). 

7~HS      Pirate  Song,  The,  A  5019  (C) ;   64472  (V). 
2-4          Pit-a-Pat  (et  al.\  17596  (V). 


APPENDIX  359 

6-HS  Polish  National  Hymn,  63364  (V). 

6-HS  Polish  Patriotic  Song,  4222  (V). 

2-8  *Polka  Mazurka  (Bell  Solo),  16280  (V). 

6-HS  Polonaise  Militaire,  A  5288  (C) ;   35241  (V). 

3-6  Pop  Goes  the  Weasel,  17160  (V). 

6-HS  Princeton's  Hymn,  16860  (V). 

6-HS  Princeton  Songs,  "  Orange  and  the  Black," 

1053  (C);   A  1 182  (C);   16873  (V). 

8-HS  Proch's  Air  and  Variations,  88007  (V). 

7-HS       "Queen   of    Sheba,"    Lend   Me  Your  Aid, 
64096  (V). 

5-HS      Rakoczy  March,  A  1020  (C) ;   4314  (V). 
3-6          Reap  the  Flax  (Folk  Dance),  S  3001  (C) ; 

17002  (V). 

8-HS       "  Redemption,"  Unfold,  Ye  Portals,  35075  (V). 
1-4          Riggetty  Jig  (ft  al.),  17719  (V). 
7-HS      "  Rigoletto,"  Dearest  Name,  A  5580  (C) ; 

82080  (E) ;   88078  (V). 
7-HS      "  Rigoletto,"  Woman  Is  Fickle,  A  1286  (C) ; 

83013  (E) ;  64072  (V). 
7-HS    *"  Rigoletto,"      Quartet,      A     5306      (C) ; 

55066  (V). 

4-8          Robin  Adair,  A  1350  (C) ;   16039  (V). 
2-6          Robin  Redbreast  (ft  al.\  17686  (V). 
7-HS      Rocked    in    the     Cradle     of     the     Deep, 

A  5516  (C) ;  80072  (E)  ;   17309  (V). 
4-8          Rockin'  in  de  Win1,  A  1475  (C). 
4-8        *Rockin'  Time,  17918  (V). 
6-HS      Roll,  Jordan,  Roll,  16466  (V). 
6-HS    *Rolling  Down  to  Rio,  64151  (V). 
7-HS      "  Rosamunde,"        Overture        (Schubert), 

A  5277  (C). 
7-HS      Russian   Folk    Song,    "  Bright    Shines   the 

Moon,"  17405  (V). 


260  APPENDIX 

7-HS      Russian    Folk    Song,    "  Let    Joy    Abide," 

61181   fV). 
6-HS      Russian   Mazurka   (Czarine),   A  5288    (C) ; 

16287  (V). 

6-HS       Russian  National  Anthem,  16669  (V). 
3-6          Russian   National    Dance    (Kamarinskaia), 

S  3002  (C) ;    17001  (V). 
6-HS     *Rustle     of     Spring,     The,     A    1151     (C) ; 

50309  (E) ;  35448  (V). 

5-8        *Saint  Patrick's  Day  (Irish  Jig),  S  3000  (C) ; 

17002  (V). 
8-HS      "  Saint  Paul,"  But  the  Lord  Is  Mindful  of 

His  Own,  88191  (V). 
6-HS     *Sally  in  Our  Alley,  A  1440  (C) ;   80149  (E) ; 

16401  (V). 
8-HS      "  Samson,"    Total  Eclipse  —  No  Sun  !    No 

Moon !  74403  (V). 

8-HS      "  Samson,"  Honor  and  Arms,  A  5332  (C). 
8-HS     *"  Samson  and  Delilah,"  My  Heart  at  Thy 

Sweet   Voice,    A   5533    (C) ;    80107    (E) ; 

88184    (V);   17216  (V)  (Cornet). 
7-HS     *Sanctus    (Messe   Solennelle),    A  5338    (C) ; 

35«o  (V). 

5-8         *Santa  Lucia,  A  1340  (C) ;    16882  (V). 
4-8          "  Saul,"  Dead  March,  A  5150  (C) ;  16980  (V). 
1-4  Secret,  The  (et  al.),  17513  (V). 

1-4  See-Saw  (et  al.),  17596  (V). 

7-HS      "  Semiramide,"     Overture,     A    5054    (C) ; 

31527  (V);    50059  (E). 
7-HS       Serenade  (Drigo),  A  5685  (C) ;    64123  (V) ; 

17600  (V). 
6-HS  **Serenade       (Schubert),      A      5090       (C) ; 

16545  (V);  64093  (V);  80130  (E); 

35140  (V). 
6-HS  *Serenade  (Schumann),  16046  (V). 


APPENDIX  261 

6-HS  **Serenade  (Tosti),  A  5571  (C) ;  64399  (V). 
6-HS   Serenade  (Titl),  A  5091  (C) ;  80141  (E) ; 

35150  (V). 
7-HS   Serenata,  "Don  Pasquale,"  A  5657  (C) ; 

85048  (V). 

1-5          Sleep,  Little  Baby  of  Mine,  17212  (V). 
1-4        *Slumber  Boat,  The,  A  1171  (C) ;  45075  <V). 
1-4          Slumber  Sea  (et  #/.)>  17212  (V). 
1-6         *Song  of  the  Chimes,  80247  (E) ;    64322  (V). 
7-HS     *Song  of  India,  82088  (E) ;    64269  (V). 
1-4          Song  of  the  Nightingale,  64161  (V). 
1-4          Song  of  the  Wood  Bird,  S  3016  (C). 
6-8          Songs  of  America,  31854  (V). 
6-8          Songs  of  Ireland,  31869  (V). 
6-8          Songs  of  Scotland,  80245  (E) ;   31869  (V). 
4-8          Songs    and    Calls    of    our    Native    Birds, 

50276  (E);    17735  (V). 

4-8         *Songs  of  Our  Native  Birds,  55049  (V). 
7-HS      Souvenir  of  Moscow,  80071  (E) ;  74051  (V). 
7-HS      Spanish     Dance     (Bolero),    A    1211     (C) ; 

50080  (E) ;    70032  (V). 
4-8      **Spring   Song   (Mendelssohn),  A   1304  (C) ; 

80097  (E) ;    16516  (V). 
2-6  Spring  Voices,  16835  (V). 

8-HS      "  Stabat    Mater,"     Cujus    Animam,    5275 

(C);  35157  (V). 
8-HS      "  Stabat  Mater,"  Inflammatus,  5275   (C) ; 

82010  (E) ;   70037  (V). 
5-HS    **Star-Spangled      Banner,      S      3022      (C) ; 

50169  (E) ;    17581  (V). 
4-8        *Stephanie  Gavotte,  A  1655  (C) ;   80094  (E) ; 

17287  (V). 
6-8          Swallows,     The     (Cowen),    A     1478     (C) ; 

64392  (V). 

6-8  Swallows,  The  (Mexican  Folk  Song)  16065  (V). 

4-6          Swanee  River.     (See  "  Old  Folks  at  Home.") 


26a  APPENDIX 

2-8  **Sweet  and  Low,  A  1741  (C) ;  4796  (V) ; 
83011  (C);  16382  (V). 

6-8        *Swing  Low,  Sweet  Chariot,  16453  (V). 

7-HS  **Symphony  in  C  Minor  (Beethoven),  An- 
dante, 35275  (V). 

7-HS  **Symphony  (Dvorak),  "The  New  World," 
Largo,  35275  (V) ;  A  5360  (C). 

7-HS     *Symphony,  The  Surprise  (Haydn),  35243  (V). 

7-HS  Symphony  in  G  Minor  (Mozart),  35482  (V) ; 
35489  (V). 

7-HS  *Symphony  in  B  Minor  (Unfinished), 
(Schubert),  353*4  (V). 

5_8      **"  Tales  of  Hoffmann,"  Barcarolle,  A  1214 

(C);  83032  (E);    5754  (V);    1731 1  (V). 
7-HS       ;<  Tannhauser,"     Overture,     A    5337     (C) ; 

31382  (V);   31383  (V). 
6-HS    *"  Tannhauser,"   Pilgrims'   Chorus,   A  5530 

(C);   82070  (E);    16537  (V). 
6-HS    *"  Tannhauser,"      March,      A     5054      (C) ; 

50150  (E) ;    16514  (V). 
8-HS       ;<  Tannhauser,"         Elizabeth's         Prayer, 

35096  (v). 

6-HS       '*  Tannhauser,"  Song  to  the  Evening  Star, 

A  5471  (C) ;  80084  (E);  17446  (V). 
4-6  Tarentella  (Folk  Dance),  17083  (V). 
7-HS  Tarentella  (Neapolitan  Folk  Song), 

A  5128  (C) ;   88347  (V). 
8-HS      "Thai's,"      Meditation,      A      5115      (C) ; 

82043  (E);    74135  (V). 

8-HS  ;'  Thais,"  Love  is  a  Virtue  Rare,  A  5440  (C). 
7-HS  Thy  Sentinel  Am  I,  A  5344  (C) ;  17422  (V). 
7-HS  *"Tosca,"  Love  and  Music,  A  5587  (C)  ; 

82531  (E) ;   88075  (V). 

1-4    *Toymaker's  Shop,  The,  60080  (V). 
4-8   **Traumerei,  A  5679  (C) ;   80071  (E) ; 

4845  (V) ;  17272  (V). 


APPENDIX  263 

8-HS      "  Traviata,"  The  One  of  Whom  I  Dreamed 

(Ah,  fors'  e  lui),  A  5284  (C) ;   70094  (V) ; 

88064  (V). 

8-HS      "Tristan  and  Isolde,"  Prelude,  68210  (V). 
8-HS    *"  Tristan  and  Isolde,"  Isolde's  Love-Death, 

A  5464  (C) ;  55041  (V). 
5-HS  **"  Trovatore,"   Anvil   Chorus,    A  5667    (C) ; 

82516  (E) ;   17563  (V). 
7-HS       ;'  Trovatore,"     Tempest     of     the     Heart, 

A  5570  (C);    16521  (V). 
7-HS     *"  Trovatore,"      Miserere,      A       10      (C) ; 

82516  (E);   35443  (V);    16371  (V). 
6-HS     *"  Trovatore,"    Home    to    Our    Mountains, 

5370  (C) ;  82541  (E)  ;  35443  (V) ;  89060  (V). 
2-4        Tulips,  The  (et  al\  17686  (V). 
6-8          Twickenham  Ferry,  A  5276  (C) ;  60104  (V). 
7-HS    *Two     Grenadiers,     The,     A     5471      (C) ; 

82534  (E);   31740  (V). 

7-HS      Under  the  Greenwood  Tree,  17623  (V). 

8-HS    *"  Valkyrie,"      Brunnhilde's     Battle      Cry, 

A  1451  (C) ;  87002  (V). 
8-HS    *"  Valkyrie,"  Magic  Fire  Scene,  A  5594  (C) ; 

35448  (V). 
8-HS    *"  Valkyrie,"      Ride      of     the      Valkyries, 

A  5433  (C) ;   62693  (V). 
8-HS       '*  Valkyrie,"      Siegmund's      Love      Song, 

A  5382  (C) ;   88276  (V). 
7-HS    *Valse  Triste,  74402  (V). 
6-HS      Vaquero's  Song,  A  1070  (C) ;   5871  (V). 
6-HS     "Venetian  Song,  The,  16417  (V). 
6-HS    *Voice  of  Love  (Schumann),  16046  (V). 

6-HS      Waltz  (Chopin),  A  5597   (C) ;    50309   (E) ; 
64076  (V) ;  88322  (V). 


264  APPENDIX 

8-HS    *Wanderer,    The    (Schubert),    A    5503   (C) ; 

82053  (E) ;   74323  (V). 
6-HS      Wanderer's  Night  Song,  The,  A  1127  (C) ; 

16417  (V). 
5-8          Watch     On     the     Rhine,    E     1926     (C) ; 

17669  (V);    16882  (V). 

6-8          Wearing  of  the  Green,  A  328  (C) ;  17348  (V). 
7-HS       Wedding  March  (Grieg),  71042  (V). 
7-HS    *Wedding  March  ("Lohengrin"),  A  6    (C) ; 

31227  (V). 
7-HS     *Wedding  March  (Mendelssohn),  A  5093  (C)  ; 

3II59  (V). 

7-HS  Wedding  March  (Soderman),  35159  (V)  . 
7-HS  When  Love  is  Kind,  A  1472  (C) ;  64325  (V). 
1-3  *Whistler  and  His  Dog,  The,  A  64  (C) ; 

17380  (V). 

7-HS      White  Dawn  Is  Stealing,  64249  (V). 
7-HS     *Who  Is  Sylvia?  A  5473  (C) ;  17634  (V). 
8-HS       Widmung  (Dedication),  A  1027  (C). 
6-HS  **"  William   Tell,"    Overture,    A  5236,    (C) ; 

A   5237    (C);     80128    (E);     35120    (V); 

35I2I  (V). 

6-HS      Will-o'-the-Wisp,  A  1179  (C) ;   64192  (V). 
2-4        *  Woodpecker,  The  (et  al.),  17686  (V). 

2-6          Xylophone    Solo,    A  1687   (C) ;    50051   (E) ; 
16855  (V). 

6-HS     *Yale  Boola  Song,  16860  (V). 

5-8          Ye    Banks    and    Braes    o'    Bonnie    Doon, 

A  1689  (C);    16162  (V). 

6-8          Yodel,  A  573  (C) ;  50314  (E) ;    16968  (V). 
7-HS      You    Live    in     My    Heart    (Folk     Song), 

87182  (V). 

5-8          Zither  Solo,  A  1486  (C) ;    17363  (V).        18 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles        MAR       1   1989 
This  book  Is  DUE  on  the  last  date  stamped  below. 


A     000812499     2 


MUSIC 


MT 
10 


1916 


